CHAPTER VI

THE AGE OF ELIZABETH (1550-1620)

I. HISTORY OF THE PERIOD

Political Summary. In the Age of Elizabeth all doubt seems to vanish from English history. After the reigns² of Edward and Mary, with defeat and humiliation⁴ abroad and persecutions and rebellion at home, the accession of a popular sovereign was like the sunrise after a long night, and, in Milton's words, we suddenly see England, "a noble and puissant⁵ nation, rousing herself, like a strong man after sleep, and shaking her invincible⁶ locks." With the queen's character, a strange mingling⁷ of frivolity⁸ and strength which reminds one of that iron image with feet of clay, we have nothing whatever to do. It is the national life that concerns the literary student, since even a beginner must notice that any great development of the national life is invariably associated with a development of the national literature. It is enough for our purpose, therefore, to point out two facts: that Elizabeth, with all her vanity and inconsistency, steadily⁹ loved England and England's greatness; and that she inspired all her people with the unbounded patriotism¹¹ which exults¹² in Shakespeare, and with the personal devotion which finds a voice in the Faery Queen. Under her administration the English national life progressed by gigantic leaps rather than by slow historical process, and English literature reached the very highest point of its development. It is possible to indicate only a few general characteristics of this great age which had a direct bearing upon its literature.

Religious TolerationCharacteristics of the Elizabethan Age. The most characteristic feature of the age was the comparative religious tolerance¹⁴, which was due largely to the queen's influence. The frightful¹⁵ excesses of the religious war known as the Thirty Years' War on the Continent found no parallel in England. Upon her accession Elizabeth found the whole kingdom divided against itself; the North was largely Catholic, while the southern counties were as strongly Protestant. Scotland had followed the Reformation in its own intense way, while Ireland remained true to its old religious traditions, and both countries were openly rebellious¹⁷. The court, made up of both parties, witnessed the rival intrigues¹⁸ of those who sought to gain the royal favor. It was due partly to the intense absorption of men's minds in religious questions that the preceding century, though an age of advancing learning, produced scarcely any literature worthy¹⁹ of the name. Elizabeth favored both religious parties, and presently the world saw with amazement²⁰ Catholics and Protestants acting²¹ together as trusted counselors²² of a great sovereign. The defeat of the Spanish Armada established the Reformation as a fact in England, and at the same time united all Englishmen in a magnificent national enthusiasm. For the first time since the Reformation began, the fundamental question of religious toleration seemed to be settled, and the mind of man, freed from religious fears and persecutions, turned with a great creative impulse to other forms of activity. It is partly from this new freedom of the mind that the Age of Elizabeth received its great literary stimulus²⁴.

Social contentment2. It was an age of comparative social contentment, in strong contrast with the days of Langland. The rapid increase of manufacturing towns gave employment to thousands who had before been idle and discontented. Increasing trade brought enormous wealth to England, and this wealth was shared to this extent, at least, that for the first time some systematic²⁵ care for the needy²⁶ was attempted. Parishes were made responsible for their own poor, and the wealthy were taxed to support them or give them employment. The increase of wealth, the improvement in living, the opportunities for labor²⁹, the new social content--these also are factors which help to account for the new literary activity.

Enthusiasm3. It is an age of dreams, of adventure, of unbounded enthusiasm springing from the new lands of fabulous³¹ riches revealed by English explorers. Drake sails around the world, shaping the mighty³² course which English colonizers shall follow through the centuries; and presently the young philosopher Bacon is saying confidently, "I have taken all knowledge for my province." The mind must search farther than the eye; with new, rich lands opened to the sight, the imagination must create new forms to people the new worlds. Hakluyt's famous Collection of Voyages, and Purchas, His Pilgrimage, were even more stimulating³³ to the English imagination than to the English acquisitiveness. While her explorers search the new world for the Fountain of Youth, her poets are creating literary works that are young forever. Marston writes:[114] "Why, man, all their dripping pans are pure gold. The prisoners they take are fettered³⁴ in gold; and as for rubies³⁵ and diamonds, they goe forth³⁶ on holydayes and gather 'hem²⁷ by the seashore to hang on their children's coates." This comes nearer to being a description of Shakespeare's poetry than of the Indians in Virginia. Prospero, in The Tempest, with his control over the mighty powers and harmonies of nature, is only the literary dream of that science which had just begun to grapple with the forces of the universe. Cabot, Drake, Frobisher, Gilbert, Raleigh, Willoughby, Hawkins,--a score of explorers reveal a new earth to men's eyes, and instantly literature creates a new heaven to match it. So dreams and deeds increase side by side, and the dream is ever greater than the deed. That is the meaning of literature.

The Drama4. To sum up, the Age of Elizabeth was a time of intellectual liberty, of growing intelligence and comfort among all classes, of unbounded patriotism, and of peace at home and abroad. For a parallel we must go back to the Age of Pericles in Athens, or of Augustus in Rome, or go forward a little to the magnificent court of Louis XIV, when Corneille, Racine, and Molière brought the drama in France to the point where Marlowe, Shakespeare, and Jonson had left it in England half a century earlier. Such an age of great thought and great action, appealing to the eyes as well as to the imagination and intellect, finds but one adequate literary expression; neither poetry nor the story can express the whole man,--his thought, feeling, action, and the resulting character; hence in the Age of Elizabeth literature turned instinctively³⁹ to the drama and brought it rapidly to the highest stage of its development.

II. THE NON-DRAMATIC POETS OF THE ELIZABETHAN AGE

EDMUND SPENSER (1552-1599)

    (Cuddie)
            "Piers⁴⁰, I have pipéd erst so long with pain
            That all mine oaten reeds been rent and wore,
            And my poor Muse⁴¹ hath spent her sparéd store,
            Yet little good hath got, and much less gain.
            Such pleasaunce makes the grasshopper⁴² so poor,
            And ligge so layd[115] when winter doth her strain.
            The dapper ditties that I wont⁴³ devise,
            To feed youth's fancy, and the flocking fry
            Delghten much--what I the bet forthy?
            They han the pleasure, I a slender prize:
            I beat the bush, the birds to them do fly:
            What good thereof to Cuddie can arise?
    (Piers)
            Cuddie, the praise is better than the price,
            The glory eke⁴⁴ much greater than the gain:..."
                            Shepherd's Calendar, October

In these words, with their sorrowful suggestion of Deor, Spenser reveals his own heart, unconsciously perhaps, as no biographer could possibly do. His life and work seem to center about three great influences, summed up in three names: Cambridge, where he grew acquainted with the classics and the Italian poets; London, where he experienced the glamour⁴⁵ and the disappointment of court life; and Ireland, which steeped him in the beauty and imagery of old Celtic poetry and first gave him leisure to write his masterpiece.

Illustration: EDMUND SPENSER
EDMUND SPENSER

Life. Of Spenser's early life and parentage we know little, except that he was born in East Smithfield, near the Tower of London, and was poor. His education began at the Merchant Tailors' School in London and was continued in Cambridge, where as a poor sizar and fag for wealthy students he earned a scant⁴⁷ living. Here in the glorious world that only a poor scholar knows how to create for himself he read the classics, made acquaintance with the great Italian poets, and wrote numberless little poems of his own. Though Chaucer was his beloved master, his ambition was not to rival the Canterbury Tales, but rather to express the dream of English chivalry⁴⁸, much as Ariosto had done for Italy in Orlando Furioso.

After leaving Cambridge (1576) Spenser went to the north of England, on some unknown work or quest. Here his chief occupation was to fall in love and to record his melancholy⁴⁹ over the lost Rosalind in the Shepherd's Calendar. Upon his friend Harvey's advice he came to London, bringing his poems; and here he met Leicester, then at the height of royal favor, and the latter took him to live at Leicester House. Here he finished the Shepherd's Calendar, and here he met Sidney and all the queen's favorites. The court was full of intrigues, lying and flattery, and Spenser's opinion of his own uncomfortable position is best expressed in a few lines from "Mother Hubbard's Tale":

    Full little knowest thou, that has not tried,
    What hell it is, in suing long to bide⁵¹:
    To lose good days, that might be better spent;
    To waste long nights in pensive⁵² discontent;
    To fret⁵³ thy soul with crosses and with cares;
    To eat thy heart through comfortless despairs;
    To fawn⁵⁴, to crouch⁵⁵, to wait, to ride, to run,
    To spend, to give, to want, to be undone⁵⁶.

In 1580, through Leicester's influence, Spenser, who was utterly⁵⁷ weary of his dependent position, was made secretary to Lord Grey, the queen's deputy in Ireland, and the third period of his life began. He accompanied his chief through one campaign of savage⁵⁸ brutality⁶⁰ in putting down an Irish rebellion, and was given an immense estate with the castle of Kilcolman, in Munster, which had been confiscated⁶¹ from Earl Desmond, one of the Irish leaders. His life here, where according to the terms of his grant he must reside as an English settler, he regarded as lonely exile:

    My luckless lot,
    That banished⁶³ had myself, like wight forlore,
    Into that waste, where I was quite forgot.

It is interesting to note here a gentle poet's view of the "unhappy island." After nearly sixteen years' residence he wrote his View of the State of Ireland (1596),[116] his only prose work, in which he submits a plan for "pacifying⁶⁵ the oppressed and rebellious people." This was to bring a huge force of cavalry⁶⁶ and infantry⁶⁷ into the country, give the Irish a brief time to submit, and after that to hunt them down like wild beasts. He calculated that cold, famine, and sickness would help the work of the sword, and that after the rebels had been well hounded for two winters the following summer would find the country peaceful. This plan, from the poet of harmony and beauty, was somewhat milder than the usual treatment of a brave people whose offense⁶⁸ was that they loved liberty and religion. Strange as it may seem, the View was considered most statesmanlike, and was excellently well received in England.

In Kilcolman, surrounded by great natural beauty, Spenser finished the first three books of the Faery Queen. In 1589 Raleigh visited him, heard the poem with enthusiasm, hurried the poet off to London, and presented him to Elizabeth. The first three books met with instant success when published and were acclaimed⁶⁹ as the greatest work in the English language. A yearly pension of fifty pounds was conferred by Elizabeth, but rarely paid, and the poet turned back to exile, that is, to Ireland again.

Soon after his return, Spenser fell in love with his beautiful Elizabeth, an Irish girl; wrote his Amoretti, or sonnets⁷⁰, in her honor; and afterwards represented her, in the Faery Queen, as the beautiful woman dancing among the Graces. In 1594 he married Elizabeth, celebrating his wedding with his "Epithalamion," one of the most beautiful wedding hymns⁷² in any language.

Spenser's next visit to London was in 1595, when he published "Astrophel," an elegy⁷⁴ on the death of his friend Sidney, and three more books of the Faery Queen. On this visit he lived again at Leicester House, now occupied by the new favorite Essex, where he probably met Shakespeare and the other literary lights of the Elizabethan Age. Soon after his return to Ireland, Spenser was appointed Sheriff of Cork⁷⁶, a queer office for a poet, which probably brought about his undoing⁷⁷. The same year Tyrone's Rebellion broke out in Munster. Kilcolman, the ancient house of Desmond, was one of the first places attacked by the rebels, and Spenser barely escaped with his wife and two children. It is supposed that some unfinished parts of the Faery Queen were burned in the castle.

From the shock of this frightful experience Spenser never recovered. He returned to England heartbroken, and in the following year (1599) he died in an inn at Westminster. According to Ben Jonson he died "for want of bread"; but whether that is a poetic⁷⁸ way of saying that he had lost his property or that he actually died of destitution⁷⁹, will probably never be known. He was buried beside his master Chaucer in Westminster Abbey, the poets of that age thronging⁸⁰ to his funeral and, according to Camden, "casting their elegies⁸¹ and the pens that had written them into his tomb."

Spenser's Works. The Faery Queen is the great work upon which the poet's fame chiefly rests. The original plan of the poem included twenty-four books, each of which was to recount the adventure and triumph of a knight⁸² who represented a moral virtue⁸³. Spenser's purpose, as indicated in a letter to Raleigh which introduces the poem, is as follows:

To pourtraict in Arthure, before he was king, the image of a brave Knight, perfected in the twelve private Morall Vertues, as Aristotle hath devised; which is the purpose of these first twelve bookes: which if I finde to be well accepted, I may be perhaps encoraged to frame the other part of Polliticke Vertues in his person, after that hee came to be king.

Each of the Virtues⁸⁴ appears as a knight, fighting his opposing Vice⁵⁰, and the poem tells the story of the conflicts. It is therefore purely⁸⁵ allegorical, not only in its personified virtues but also in its representation of life as a struggle between good and evil. In its strong moral element the poem differs radically⁸⁶ from Orlando Furioso, upon which it was modeled. Spenser completed only six books, celebrating Holiness, Temperance, Chastity, Friendship, Justice, and Courtesy. We have also a fragment of the seventh, treating of Constancy; but the rest of this book was not written, or else was lost in the fire at Kilcolman. The first three books are by far the best; and judging by the way the interest lags and the allegory grows incomprehensible, it is perhaps as well for Spenser's reputation that the other eighteen books remained a dream.

Argument of the Faery Queen. From the introductory letter we learn that the hero visits the queen's court in Fairy Land, while she is holding a twelve-days festival. On each day some distressed⁸⁷ person appears unexpectedly, tells a woful story of dragons, of enchantresses, or of distressed beauty or virtue, and asks for a champion to right the wrong and to let the oppressed go free. Sometimes a knight volunteers or begs for the dangerous mission; again the duty is assigned by the queen; and the journeys and adventures of these knights⁸⁸ are the subjects of the several books. The first recounts the adventures of the Redcross Knight, representing Holiness, and the lady Una, representing Religion. Their contests are symbolical⁸⁹ of the world-wide struggle between virtue and faith on the one hand, and sin and heresy⁹⁰ on the other. The second book tells the story of Sir Guyon, or Temperance; the third, of Britomartis, representing Chastity; the fourth, fifth, and sixth, of Cambel and Triamond (Friendship), Artegall (Justice), and Sir Calidore (Courtesy). Spenser's plan was a very elastic⁹¹ one and he filled up the measure of his narrative⁹² with everything that caught his fancy,--historical events and personages under allegorical masks, beautiful ladies, chivalrous⁹³ knights, giants, monsters, dragons, sirens, enchanters, and adventures enough to stock a library of fiction. If you read Homer or Virgil, you know his subject in the first strong line; if you read C?dmon's Paraphrase⁹⁴ or Milton's epic⁹⁵, the introduction gives you the theme; but Spenser's great poem--with the exception of a single line in the prologue⁹⁶, "Fierce warres and faithfull loves shall moralize my song"--gives hardly a hint of what is coming.

As to the meaning of the allegorical figures, one is generally in doubt. In the first three books the shadowy Faery Queen sometimes represents the glory of God and sometimes Elizabeth, who was naturally flattered by the parallel. Britomartis is also Elizabeth. The Redcross Knight is Sidney, the model Englishman. Arthur, who always appears to rescue the oppressed, is Leicester, which is another outrageous⁹⁷ flattery. Una is sometimes religion and sometimes the Protestant Church; while Duessa represents Mary Queen of Scots, or general Catholicism. In the last three books Elizabeth appears again as Mercilla; Henry IV of France as Bourbon; the war in the Netherlands as the story of Lady Belge; Raleigh as Timias; the earls of Northumberland and Westmoreland (lovers of Mary or Duessa) as Blandamour and Paridell; and so on through the wide range of contemporary characters and events, till the allegory becomes as difficult to follow as the second part of Goethe's Faust.

Poetical⁹⁸ Form. For the Faery Queen Spenser invented a new verse form, which has been called since his day the Spenserian stanza¹⁰⁰. Because of its rare beauty it has been much used by nearly all our poets in their best work. The new stanza was an improved form of Ariosto's ottava rima (i.e. eight-line stanza) and bears a close resemblance to one of Chaucer's most musical verse forms in the "Monk¹⁰¹'s Tale." Spenser's stanza is in nine lines, eight of five feet each and the last of six feet, riming ababbcbcc. A few selections from the first book, which is best worth reading, are reproduced here to show the style and melody of the verse.

        A Gentle Knight was pricking¹⁰² on the plaine,
        Ycladd[117] in mightie armes and silver shielde,
        Wherein old dints of deepe woundes did remaine
        The cruell markes of many a bloody¹⁰³ fielde;
        Yet armes till that time did he never wield¹⁰⁴:
        His angry steede did chide¹⁰⁵ his foming bitt,
        As much disdayning to the curbe to yield:
        Full iolly[118] knight he seemd, and faire did sitt,
    As one for knightly¹⁰⁶ giusts[119] and fierce encounters fitt.
        And on his brest a bloodie crosse he bore,
        The deare remembrance of his dying Lord,
        For whose sweete sake that glorious badge he wore,
        And dead, as living ever, him ador'd:
        Upon his shield the like was also scor'd,
        For soveraine hope, which in his helpe he had,
        Right faithfull true he was in deede and word;
        But of his cheere[120] did seeme too solemne sad;
    Yet nothing did he dread¹⁰⁷, but ever was ydrad.[121]

This sleepy bit, from the dwelling¹⁰⁸ of Morpheus, invites us to linger:

        And, more to lulle him in his slumber¹⁰⁹ soft,
        A trickling¹¹⁰ streame from high rock tumbling downe,
        And ever-drizling raine upon the loft¹¹¹,
        Mixt with a murmuring winde, much like the sowne
        Of swarming¹¹² bees, did cast him in a swowne.
        No other noyse, nor peoples troublous cryes,
        As still are wont t'annoy the walled towne,
        Might there be heard: but carelesse Quiet lyes,
        Wrapt in eternal silence farre from enimyes.

The description of Una shows the poet's sense of ideal beauty:

        One day, nigh wearie of the yrkesome way,
        From her unhastie beast she did alight;
        And on the grasse her dainty limbs did lay
        In secrete¹¹³ shadow, far from all mens sight;
        From her fayre head her fillet she undight,[122]
        And layd her stole aside; Her angels face,
        As the great eye of heaven, shynéd bright,
        And made a sunshine in the shady place;
    Did never mortall eye behold¹¹⁴ such heavenly grace.
        It fortunéd, out of the thickest wood
        A ramping¹¹⁵ lyon rushéd suddeinly,
        Hunting full greedy after salvage¹¹⁶ blood:
        Soone as the royall Virgin³⁷ he did spy,
        With gaping¹¹⁷ mouth at her ran greedily,
        To have at once devourd her tender corse:
        But to the pray whenas he drew more ny,
        His bloody rage aswaged with remorse,[123]
    And, with the sight amazd, forgat his furious forse.
        Instead thereof he kist her wearie feet,
        And lickt her lilly hands with fawning¹¹⁸ tong;
        As he her wrongéd innocence¹¹⁹ did weet.[124]
        O how can beautie maister the most strong,
        And simple truth subdue¹²⁰ avenging¹²¹ wrong!

Minor¹²² Poems. Next to his masterpiece, the Shepherd's Calendar (1579) is the best known of Spenser's poems; though, as his first work, it is below many others in melody. It consists of twelve pastoral poems, or eclogues, one for each month of the year. The themes are generally rural life, nature, love in the fields; and the speakers are shepherds and shepherdesses. To increase the rustic¹²³ effect Spenser uses strange forms of speech and obsolete¹²⁴ words, to such an extent that Jonson complained his works are not English or any other language. Some are melancholy poems on his lost Rosalind; some are satires¹²⁵ on the clergy¹²⁷; one, "The Briar and the Oak," is an allegory; one flatters Elizabeth, and others are pure fables¹²⁸ touched with the Puritan spirit. They are written in various styles and meters, and show plainly that Spenser was practicing and preparing himself for greater work.

Other noteworthy poems are "Mother Hubbard's Tale," a satire¹²⁶ on society; "Astrophel," an elegy on the death of Sidney; Amoretti, or sonnets, to his Elizabeth; the marriage hymn⁷³, "Epithalamion," and four "Hymns," on Love, Beauty, Heavenly Love, and Heavenly Beauty. There are numerous other poems and collections of poems, but these show the scope of his work and are best worth reading.

Importance of the Shepherd's Calendar. The publication of this work, in 1579, by an unknown writer who signed himself modestly "Immerito," marks an important epoch¹²⁹ in our literature. We shall appreciate this better if we remember the long years during which England had been without a great poet. Chaucer and Spenser are often studied together as poets of the Renaissance¹³⁰ period, and the idea prevails that they were almost contemporary. In fact, nearly two centuries passed after Chaucer's death,--years of enormous political and intellectual development,--and not only did Chaucer have no successor but our language had changed so rapidly that Englishmen had lost the ability to read his lines correctly.[125]

This first published work of Spenser is noteworthy in at least four respects: first, it marks the appearance of the first national poet in two centuries; second, it shows again the variety and melody of English verse, which had been largely a tradition since Chaucer; third, it was our first pastoral, the beginning of a long series of English pastoral compositions modeled on Spenser, and as such exerted a strong influence on subsequent literature; and fourth, it marks the real beginning of the outburst of great Elizabethan poetry.

Characteristics of Spenser's Poetry. The five main qualities of Spenser's poetry are (1) a perfect melody; (2) a rare sense of beauty; (3) a splendid imagination, which could gather into one poem heroes, knights, ladies, dwarfs¹³¹, demons¹³² and dragons, classic mythology¹³³, stories of chivalry, and the thronging ideals of the Renaissance,--all passing in gorgeous procession across an ever-changing and ever-beautiful landscape; (4) a lofty moral purity and seriousness; (5) a delicate idealism, which could make all nature and every common thing beautiful. In contrast with these excellent qualities the reader will probably note the strange appearance of his lines due to his fondness for obsolete words, like eyne (eyes) and shend (shame), and his tendency to coin others, like mercify, to suit his own purposes.

It is Spenser's idealism, his love of beauty, and his exquisite¹³⁴ melody which have caused him to be known as "the poets' poet." Nearly all our subsequent singers acknowledge their delight in him and their indebtedness. Macaulay alone among critics voices a fault which all who are not poets quickly feel, namely that, with all Spenser's excellences¹³⁵, he is difficult to read. The modern man loses himself in the confused allegory of the Faery Queen, skips all but the marked passages, and softly closes the book in gentle weariness. Even the best of his longer poems, while of exquisite workmanship and delightfully¹³⁷ melodious¹³⁸, generally fail to hold the reader's attention. The movement is languid; there is little dramatic interest, and only a suggestion of humor. The very melody of his verses sometimes grows monotonous¹³⁹, like a Strauss waltz too long continued. We shall best appreciate Spenser by reading at first only a few well-chosen selections from the Faery Queen and the Shepherd's Calendar, and a few of the minor poems which exemplify his wonderful melody.

Comparison between Chaucer and Spenser. At the outset it is well to remember that, though Spenser regarded Chaucer as his master, two centuries intervene between them, and that their writings have almost nothing in common. We shall appreciate this better by a brief comparison between our first two modern poets.

Chaucer was a combined poet and man of affairs, with the latter predominating. Though dealing¹⁴⁰ largely with ancient or medi?val material, he has a curiously¹⁴¹ modern way of looking at life. Indeed, he is our only author preceding Shakespeare with whom we feel thoroughly¹⁴² at home. He threw aside the outgrown¹⁴³ metrical romance, which was practically the only form of narrative in his day, invented the art of story-telling in verse, and brought it to a degree of perfection which has probably never since been equaled. Though a student of the classics, he lived wholly in the present, studied the men and women of his own time, painted them as they were, but added always a touch of kindly¹⁴⁴ humor or romance to make them more interesting. So his mission appears to be simply to amuse himself and his readers. His mastery of various and melodious verse was marvelous and has never been surpassed in our language; but the English of his day was changing rapidly, and in a very few years men were unable to appreciate his art, so that even to Spenser and Dryden, for example, he seemed deficient¹⁴⁵ in metrical skill. On this account his influence on our literature has been much less than we should expect from the quality of his work and from his position as one of the greatest of English poets.

Like Chaucer, Spenser was a busy man of affairs, but in him the poet and the scholar always predominates. He writes as the idealist, describing men not as they are but as he thinks they should be; he has no humor, and his mission is not to amuse but to reform. Like Chaucer he studies the classics and contemporary French and Italian writers; but instead of adapting his material to present-day conditions, he makes poetry, as in his Eclogues for instance, more artificial even than his foreign models. Where Chaucer looks about him and describes life as he sees it, Spenser always looks backward for his inspiration; he lives dreamily in the past, in a realm of purely imaginary emotions and adventures. His first quality is imagination, not observation, and he is the first of our poets to create a world of dreams, fancies, and illusions. His second quality is a wonderful sensitiveness to beauty, which shows itself not only in his subject-matter but also in the manner of his poetry. Like Chaucer, he is an almost perfect workman; but in reading Chaucer we think chiefly of his natural characters or his ideas, while in reading Spenser we think of the beauty of expression. The exquisite Spenserian stanza and the rich melody of Spenser's verse have made him the model of all our modern poets.

MINOR POETS

Though Spenser is the one great non-dramatic poet of the Elizabethan Age, a multitude of minor poets demand attention of the student who would understand the tremendous literary activity of the period. One needs only to read The Paradyse of Daynty Devises (1576), or A Gorgeous Gallery of Gallant¹⁴⁶ Inventions (1578), or any other of the miscellaneous collections to find hundreds of songs, many of them of exquisite workmanship, by poets whose names now awaken¹⁴⁷ no response. A glance is enough to assure one that over all England "the sweet spirit of song had arisen, like the first chirping¹⁴⁸ of birds after a storm." Nearly two hundred poets are recorded in the short period from 1558 to 1625, and many of them were prolific¹⁴⁹ writers. In a work like this, we can hardly do more than mention a few of the best known writers, and spend a moment at least with the works that suggest Marlowe's description of "infinite riches in a little room." The reader will note for himself the interesting union of action and thought in these men, so characteristic of the Elizabethan Age; for most of them were engaged chiefly in business or war or politics, and literature was to them a pleasant recreation rather than an absorbing profession.

Thomas Sackville (1536-1608). Sir Thomas Sackville, Earl of Dorset and Lord High Treasurer¹⁵⁰ of England, is generally classed with Wyatt and Surrey among the predecessors¹⁵¹ of the Elizabethan Age. In imitation of Dante's Inferno¹⁵³, Sackville formed the design of a great poem called The Mirror for Magistrates¹⁵⁵. Under guidance of an allegorical personage called Sorrow, he meets the spirits of all the important actors in English history. The idea was to follow Lydgate's Fall of Princes and let each character tell his own story; so that the poem would be a mirror in which present rulers might see themselves and read this warning: "Who reckless rules right soon may hope to rue¹⁶." Sackville finished only the "Induction¹⁵⁶" and the "Complaint of the Duke of Buckingham." These are written in the rime¹⁵⁷ royal, and are marked by strong poetic feeling and expression. Unfortunately Sackville turned from poetry to politics, and the poem was carried on by two inferior poets, William Baldwin and George Ferrers.

Sackville wrote also, in connection with Thomas Norton, the first English tragedy, Ferrex and Porrex, called also Gorboduc, which will be considered in the following section on the Rise of the Drama.

Philip Sidney (1554-1586). Sidney, the ideal gentleman, the Sir Calidore of Spenser's "Legend of Courtesy," is vastly more interesting as a man than as a writer, and the student is recommended to read his biography rather than his books. His life expresses, better than any single literary work, the two ideals of the age,--personal honor and national greatness.

As a writer he is known by three principal works, all published after his death, showing how little importance he attached to his own writing, even while he was encouraging Spenser. The Arcadia is a pastoral romance, interspersed¹⁵⁸ with eclogues, in which shepherds and shepherdesses sing of the delights of rural life. Though the work was taken up idly as a summer's pastime, it became immensely popular and was imitated by a hundred poets. The Apologie for Poetrie (1595), generally called the Defense¹⁵⁹ of Poesie, appeared in answer to a pamphlet by Stephen Gosson called The School of Abuse (1579), in which the poetry of the age and its unbridled pleasure were denounced with Puritan thoroughness and conviction. The Apologie is one of the first critical essays in English; and though its style now seems labored¹⁶⁰ and unnatural¹⁶¹,--the pernicious result of Euphues and his school,--it is still one of the best expressions of the place and meaning of poetry in any language. Astrophel and Stella is a collection of songs and sonnets addressed to Lady Penelope Devereux, to whom Sidney had once been betrothed¹⁶³. They abound¹⁶⁴ in exquisite lines and passages, containing more poetic feeling and expression than the songs of any other minor writer of the age.

George Chapman (1559?-1634). Chapman spent his long, quiet life among the dramatists, and wrote chiefly for the stage. His plays, which were for the most part merely poems in dialogue, fell far below the high dramatic standard of his time and are now almost unread. His most famous work is the metrical translation of the Iliad (1611) and of the Odyssey¹⁶⁶ (1614). Chapman's Homer, though lacking the simplicity¹⁶⁷ and dignity of the original, has a force and rapidity of movement which makes it superior in many respects to Pope's more familiar translation. Chapman is remembered also as the finisher of Marlowe's Hero and Leander, in which, apart from the drama, the Renaissance movement is seen at perhaps its highest point in English poetry. Out of scores of long poems of the period, Hero and Leander and the Faery Queen are the only two which are even slightly known to modern readers.

Michael Drayton (1563-1631). Drayton is the most voluminous and, to antiquarians at least, the most interesting of the minor poets. He is the Layamon of the Elizabethan Age, and vastly more scholarly than his predecessor¹⁵². His chief work is Polyolbion, an enormous poem of many thousand couplets, describing the towns, mountains, and rivers of Britain, with the interesting legends connected with each. It is an extremely valuable work and represents a lifetime of study and research. Two other long works are the Barons¹⁶⁸' Wars and the Heroic Epistle of England; and besides these were many minor poems. One of the best of these is the "Battle of Agincourt," a ballad¹⁷⁰ written in the lively meter which Tennyson used with some variations in the "Charge of the Light Brigade," and which shows the old English love of brave deeds and of the songs that stir a people's heart in memory of noble ancestors.

III. THE FIRST ENGLISH DRAMATISTS

The Origin of the Drama. First the deed, then the story, then the play; that seems to be the natural development of the drama in its simplest form. The great deeds of a people are treasured in its literature, and later generations represent in play or pantomime certain parts of the story which appeal most powerfully to the imagination. Among primitive¹⁷¹ races the deeds of their gods and heroes are often represented at the yearly festivals; and among children, whose instincts are not yet blunted by artificial habits, one sees the story that was heard at bedtime repeated next day in vigorous action, when our boys turn scouts¹⁷³ and our girls princesses, precisely¹⁷⁴ as our first dramatists turned to the old legends and heroes of Britain for their first stage productions. To act a part seems as natural to humanity as to tell a story; and originally the drama is but an old story retold to the eye, a story put into action by living performers, who for the moment "make believe" or imagine themselves to be the old heroes.

To illustrate¹⁷⁵ the matter simply, there was a great life lived by him who was called the Christ. Inevitably¹⁷⁶ the life found its way into literature, and we have the Gospels. Around the life and literature sprang up a great religion. Its worship was at first simple,--the common prayer, the evening meal together, the remembered words of the Master, and the closing hymn. Gradually a ritual was established, which grew more elaborate and impressive as the centuries went by. Scenes from the Master's life began to be represented in the churches, especially at Christmas time, when the story of Christ's birth was made more effective, to the eyes of a people who could not read, by a babe in a manger surrounded by magi and shepherds, with a choir¹⁷⁷ of angels chanting the Gloria in Excelsis.[126] Other impressive scenes from the Gospel followed; then the Old Testament¹⁷⁸ was called upon, until a complete cycle of plays from the Creation to the Final Judgment¹⁷⁹ was established, and we have the Mysteries and Miracle plays of the Middle Ages. Out of these came directly the drama of the Elizabethan Age.

PERIODS IN THE DEVELOPMENT OF THE DRAMA

1. The Religious Period. In Europe, as in Greece, the drama had a distinctly religious origin.[127] The first characters were drawn¹⁸⁰ from the New Testament, and the object of the first plays was to make the church service more impressive, or to emphasize moral lessons by showing the reward of the good and the punishment of the evil doer. In the latter days of the Roman Empire the Church found the stage possessed¹⁸¹ by frightful plays, which debased the morals of a people already fallen too low. Reform seemed impossible; the corrupt¹⁸² drama was driven from the stage, and plays of every kind were forbidden. But mankind loves a spectacle, and soon the Church itself provided a substitute for the forbidden plays in the famous Mysteries and Miracles.

Miracle and Mystery Plays. In France the name miracle was given to any play representing the lives of the saints, while the mystère represented scenes from the life of Christ or stories from the Old Testament associated with the coming of Messiah. In England this distinction was almost unknown; the name Miracle was used indiscriminately for all plays having their origin in the Bible or in the lives of the saints; and the name Mystery, to distinguish a certain class of plays, was not used until long after the religious drama had passed away.

The earliest Miracle of which we have any record in England is the Ludus de Sancta Katharina, which was performed in Dunstable about the year 1110.[128] It is not known who wrote the original play of St. Catherine, but our first version was prepared by Geoffrey of St. Albans, a French school-teacher of Dunstable. Whether or not the play was given in English is not known, but it was customary in the earliest plays for the chief actors to speak in Latin or French, to show their importance, while minor and comic parts of the same play were given in English.

For four centuries after this first recorded play the Miracles increased steadily in number and popularity in England. They were given first very simply and impressively in the churches; then, as the actors increased in number and the plays in liveliness, they overflowed¹⁸³ to the churchyards; but when fun and hilarity¹⁸⁴ began to predominate even in the most sacred representations, the scandalized priests forbade plays altogether on church grounds. By the year 1300 the Miracles were out of ecclesiastical hands and adopted eagerly by the town guilds¹⁸⁵; and in the following two centuries we find the Church preaching against the abuse of the religious drama which it had itself introduced, and which at first had served a purely religious purpose.[129] But by this time the Miracles had taken strong hold upon the English people, and they continued to be immensely popular until, in the sixteenth century, they were replaced by the Elizabethan drama.

Cycles of PlaysThe early Miracle plays of England were divided into two classes: the first, given at Christmas, included all plays connected with the birth of Christ; the second, at Easter, included the plays relating to his death and triumph. By the beginning of the fourteenth century all these plays were, in various localities, united in single cycles beginning with the Creation and ending with the Final Judgment. The complete cycle was presented every spring, beginning on Corpus Christi day; and as the presentation of so many plays meant a continuous outdoor festival of a week or more, this day was looked forward to as the happiest of the whole year.

Probably every important town in England had its own cycle of plays for its own guilds to perform, but nearly all have been lost. At the present day only four cycles exist (except in the most fragmentary condition), and these, though they furnish an interesting commentary on the times, add very little to our literature. The four cycles are the Chester and York plays, so called from the towns in which they were given; the Towneley or Wakefield plays, named for the Towneley family, which for a long time owned the manuscript; and the Coventry plays, which on doubtful evidence have been associated with the Grey Friars (Franciscans) of Coventry. The Chester cycle has 25 plays, the Wakefield 30, the Coventry 42, and the York 48. It is impossible to fix either the date or the authorship of any of these plays; we only know certainly that they were in great favor from the twelfth to the sixteenth century. The York plays are generally considered to be the best; but those of Wakefield show more humor and variety, and better workmanship. The former cycle especially shows a certain unity¹⁸⁷ resulting from its aim to represent the whole of man's life from birth to death. The same thing is noticeable in Cursor Mundi, which, with the York and Wakefield cycles, belongs to the fourteenth century.

The Stage and the ActorsAt first the actors as well as the authors of the Miracles were the priests and their chosen assistants. Later, when The town guilds took up the plays and each guild¹⁸⁶ became responsible for one or more of the series, the actors were carefully selected and trained. By four o'clock on the morning of Corpus Christi all the players had to be in their places in the movable theaters, which were scattered¹⁸⁸ throughout the town in the squares and open places. Each of these theaters consisted of a two-story platform, set on wheels. The lower story was a dressing¹⁸⁹ room for the actors; the upper story was the stage proper, and was reached by a trapdoor from below. When the play was over the platform was dragged away, and the next play in the cycle took its place. So in a single square several plays would be presented in rapid sequence to the same audience. Meanwhile the first play moved on to another square, where another audience was waiting to hear it.

Though the plays were distinctly religious in character, there is hardly one without its humorous element. In the play of Noah, for instance, Noah's shrewish wife makes fun for the audience by wrangling¹⁹⁰ with her husband. In the Crucifixion play Herod is a prankish¹⁹¹ kind of tyrant¹⁹² who leaves the stage to rant⁶² among the audience; so that to "out-herod Herod" became a common proverb. In all the plays the devil is a favorite character and the butt¹⁹³ of every joke. He also leaves the stage to play pranks¹⁹⁴ or frighten the wondering children. On the side of the stage was often seen a huge dragon's head with gaping red jaws¹⁹⁵, belching¹⁹⁶ forth fire and smoke, out of which poured a tumultuous troop of devils with clubs and pitchforks and gridirons to punish the wicked characters and to drag them away at last, howling and shrieking¹⁹⁷, into hell-mouth, as the dragon's head was called. So the fear of hell was ingrained into an ignorant people for four centuries. Alternating with these horrors were bits of rough horse-play and domestic scenes of peace and kindliness¹⁹⁸, representing the life of the English fields and homes. With these were songs and carols, like that of the Nativity, for instance:

    As I out rode this enderes (last) night,
    Of three jolly shepherds I saw a sight,
    And all about their fold a star shone bright;
              They sang terli terlow,
    So merryly the shepherds their pipes can blow.
    Down from heaven, from heaven so high,
    Of angels there came a great companye
    With mirth, and joy, and great solemnitye;
              They sang terli terlow,
    So merryly the shepherds their pipes can blow.

Such songs were taken home by the audience and sung for a season, as a popular tune¹⁹⁹ is now caught from the stage and sung on the streets; and at times the whole audience would very likely join in the chorus.

After these plays were written according to the general outline of the Bible stories, no change was tolerated, the audience insisting, like children at "Punch and Judy," upon seeing the same things year after year. No originality²⁰⁰ in plot or treatment was possible, therefore; the only variety was in new songs and jokes, and in the pranks of the devil. Childish as such plays seem to us, they are part of the religious development of all uneducated people. Even now the Persian play of the "Martyrdom of Ali" is celebrated²⁰² yearly, and the famous "Passion Play," a true Miracle, is given every ten years at Oberammergau.

2. The Moral Period of the Drama.[130] The second or moral period of the drama is shown by the increasing prevalence of the Morality plays. In these the characters were allegorical personages,--Life, Death, Repentance²⁰³, Goodness, Love, Greed, and other virtues and vices²⁰⁴. The Moralities may be regarded, therefore, as the dramatic counterpart of the once popular allegorical poetry exemplified by the Romance of the Rose. It did not occur to our first, unknown dramatists to portray²⁰⁵ men and women as they are until they had first made characters of abstract human qualities. Nevertheless, the Morality marks a distinct advance over the Miracle in that it gave free scope to the imagination for new plots and incidents. In Spain and Portugal these plays, under the name auto²⁰⁷, were wonderfully developed by the genius of Calderon and Gil Vicente; but in England the Morality was a dreary²⁰⁸ kind of performance, like the allegorical poetry which preceded it.

To enliven the audience the devil of the Miracle plays was introduced; and another lively personage called the Vice was the predecessor of our modern clown and jester. His business was to torment²⁰⁹ the "virtues" by mischievous²¹⁰ pranks, and especially to make the devil's life a burden by beating him with a bladder or a wooden sword at every opportunity. The Morality generally ended in the triumph of virtue, the devil leaping into hell-mouth with Vice on his back.

The best known of the Moralities is "Everyman," which has recently been revived in England and America. The subject of the play is the summoning of every man by Death; and the moral is that nothing can take away the terror of the inevitable²¹¹ summons but an honest life and the comforts of religion. In its dramatic unity it suggests the pure Greek drama; there is no change of time or scene, and the stage is never empty from the beginning to the end of the performance. Other well-known Moralities are the "Pride of Life," "Hyckescorner," and "Castell of Perseverance²¹²." In the latter, man is represented as shut up in a castle garrisoned²¹³ by the virtues and besieged²¹⁴ by the vices.

Like the Miracle plays, most of the old Moralities are of unknown date and origin. Of the known authors of Moralities, two of the best are John Skelton, who wrote "Magnificence," and probably also "The Necromancer"; and Sir David Lindsay (1490-1555), "the poet of the Scotch²¹⁵ Reformation," whose religious business it was to make rulers uncomfortable by telling them unpleasant truths in the form of poetry. With these men a new element enters into the Moralities. They satirize²¹⁶ or denounce abuses of Church and State, and introduce living personages thinly disguised as allegories; so that the stage first becomes a power in shaping events and correcting abuses.

The Interludes. It is impossible to draw any accurate line of distinction between the Moralities and Interludes. In general we may think of the latter as dramatic scenes, sometimes given by themselves (usually with music and singing) at banquets and entertainments where a little fun was wanted; and again slipped into a Miracle play to enliven the audience after a solemn scene. Thus on the margin²¹⁷ of a page of one of the old Chester plays we read, "The boye and pigge when the kinges are gone." Certainly this was no part of the original scene between Herod and the three kings. So also the quarrel between Noah and his wife is probably a late addition to an old play. The Interludes originated, undoubtedly²¹⁸, in a sense of humor; and to John Heywood (1497?-1580?), a favorite retainer and jester at the court of Mary, is due the credit for raising the Interlude to the distinct dramatic form known as comedy.

Heywood's Interludes were written between 1520 and 1540. His most famous is "The Four P's," a contest of wit between a "Pardoner, a Palmer, a Pedlar and a Poticary." The characters here strongly suggest those of Chaucer.[131] Another interesting Interlude is called "The Play of the Weather." In this Jupiter and the gods assemble to listen to complaints about the weather and to reform abuses. Naturally everybody wants his own kind of weather. The climax²¹⁹ is reached by a boy who announces that a boy's pleasure consists in two things, catching²²⁰ birds and throwing snowballs, and begs for the weather to be such that he can always do both. Jupiter decides that he will do just as he pleases about the weather, and everybody goes home satisfied.

All these early plays were written, for the most part, in a mingling of prose and wretched doggerel²²¹, and add nothing to our literature. Their great work was to train actors, to keep alive the dramatic spirit, and to prepare the way for the true drama.

3. The Artistic²²² Period of the Drama. The artistic is the final stage in the development of the English drama. It differs radically from the other two in that its chief purpose is not to point a moral but to represent human life as it is. The artistic drama may have purpose, no less than the Miracle play, but the motive²²³ is always subordinate to the chief end of representing life itself.

The First Comedy The first true play in English, with a regular plot, divided into acts and scenes, is probably the comedy, "Ralph Royster Doyster." It was written by Nicholas Udall, master of Eton, and later of Westminster school, and was first acted by his schoolboys some time before 1556. The story is that of a conceited²²⁴ fop in love with a widow, who is already engaged to another man. The play is an adaptation of the Miles Gloriosus, a classic comedy by Plautus, and the English characters are more or less artificial; but as furnishing a model of a clear plot and natural dialogue, the influence of this first comedy, with its mixture of classic and English elements, can hardly be overestimated²²⁶.

The next play, "Gammer Gurton's Needle" (cir. 1562), is a domestic comedy, a true bit of English realism, representing the life of the peasant class.

Gammer Gurton is patching the leather breeches of her man Hodge, when Gib, the cat, gets into the milk pan. While Gammer chases the cat the family needle is lost, a veritable calamity²²⁷ in those days. The whole household is turned upside down, and the neighbors are dragged into the affair. Various comical situations are brought about by Diccon, a thieving vagabond, who tells Gammer that her neighbor, Dame²³ Chatte, has taken her needle, and who then hurries to tell Dame Chatte that she is accused by Gammer of stealing a favorite rooster. Naturally there is a terrible row when the two irate²²⁸ old women meet and misunderstand each other. Diccon also drags Doctor Rat, the curate, into the quarrel by telling him that, if he will but creep into Dame Chatte's cottage by a hidden way, he will find her using the stolen needle. Then Diccon secretly warns Dame Chatte that Gammer Gurton's man Hodge is coming to steal her chickens; and the old woman hides in the dark passage and cudgels the curate soundly with the door bar. All the parties are finally brought before the justice, when Hodge suddenly and painfully finds the lost needle--which is all the while stuck in his leather breeches--and the scene ends uproariously for both audience and actors.

This first wholly English comedy is full of fun and coarse humor, and is wonderfully true to the life it represents. It was long attributed to John Still, afterwards bishop²²⁹ of Bath; but the authorship is now definitely assigned to William Stevenson.[132] Our earliest edition of the play was printed in 1575; but a similar play called "Dyccon of Bedlam²³⁰" was licensed²³¹ in 1552, twelve years before Shakespeare's birth.

To show the spirit and the metrical form of the play we give a fragment of the boy's description of the dullard Hodge trying to light a fire on the hearth²³² from the cat's eyes, and another fragment of the old drinking song at the beginning of the second act.

    At last in a dark corner two sparkes he thought he sees
    Which were, indede, nought²³³ els but Gyb our cat's two eyes.
    "Puffe!" quod Hodge, thinking therby to have fyre without doubt;
    With that Gyb shut her two eyes, and so the fyre was out.
    And by-and-by them opened, even as they were before;
    With that the sparkes appeared, even as they had done of yore.
    And, even as Hodge blew the fire, as he did thincke,
    Gyb, as she felt the blast, strayght-way began to wyncke,
    Tyll Hodge fell of swering, as came best to his turne,
    The fier was sure bewicht, and therfore wold not burne.
    At last Gyb up the stayers, among the old postes and pinnes,
    And Hodge he hied him after till broke were both his shinnes,
    Cursynge and swering othes, were never of his makyng,
    That Gyb wold fyre the house if that shee were not taken.

            Fyrste a Songe:
    Backe and syde, go bare, go bare;
        Booth foote and hande, go colde;
    But, bellye, God sende thee good ale ynoughe,
        Whether it be newe or olde!
    I can not eate but lytle meate,
        My stomacke is not good;
    But sure I thinke that I can dryncke
        With him that weares a hood²³⁴.
    Thoughe I go bare, take ye no care,
        I am nothinge a-colde,
    I stuffe my skyn so full within
        Of ioly good ale and olde.
    Backe and syde, go bare, etc.

The First TragedyOur first tragedy, "Gorboduc," was written by Thomas Sackville and Thomas Norton, and was acted in 1562, only two years before the birth of Shakespeare. It is remarkable²³⁵ not only as our first tragedy, but as the first play to be written in blank verse, the latter being most significant, since it started the drama into the style of verse best suited to the genius of English playwrights²³⁷.

The story of "Gorboduc" is taken from the early annals of Britain and recalls the story used by Shakespeare in King Lear. Gorboduc, king of Britain, divides his kingdom between his sons Ferrex and Porrex. The sons quarrel, and Porrex, the younger, slays²³⁹ his brother, who is the queen's favorite. Videna, the queen, slays Porrex in revenge; the people rebel and slay²³⁸ Videna and Gorboduc; then the nobles kill the rebels, and in turn fall to fighting each other. The line of Brutus being extinct with the death of Gorboduc, the country falls into anarchy²⁴⁰, with rebels, nobles, and a Scottish invader²⁴¹ all fighting for the right of succession. The curtain falls upon a scene of bloodshed and utter confusion.

The artistic finish of this first tragedy is marred²⁴³ by the authors' evident purpose to persuade Elizabeth to marry. It aims to show the danger to which England is exposed by the uncertainty²⁴⁴ of succession. Otherwise the plan of the play follows the classical rule of Seneca. There is very little action on the stage; bloodshed and battle are announced by a messenger; and the chorus, of four old men of Britain, sums up the situation with a few moral observations at the end of each of the first four acts.

Classical Influence upon the Drama. The revival²⁴⁵ of Latin literature had a decided²⁴⁶ influence upon the English drama as it developed from the Miracle plays. In the fifteenth century English teachers, in order to increase the interest in Latin, began to let their boys act the plays which they had read as literature, precisely as our colleges now present Greek or German plays at the yearly festivals. Seneca was the favorite Latin author, and all his tragedies were translated into English between 1559 and 1581. This was the exact period in which the first English playwrights were shaping their own ideas; but the severe simplicity of the classical drama seemed at first only to hamper²⁴⁷ the exuberant²⁴⁸ English spirit. To understand this, one has only to compare a tragedy of Seneca or of Euripides with one of Shakespeare, and see how widely the two masters differ in methods.

Dramatic Unities²⁸ In the classic play the so-called dramatic unities of time, place, and action were strictly²⁴⁹ observed. Time and place must remain the same; the play could represent a period of only a few hours, and whatever action was introduced must take place at the spot where the play began. The characters, therefore, must remain unchanged throughout; there was no possibility of the child becoming a man, or of the man's growth with changing circumstances. As the play was within doors, all vigorous action was deemed out of place on the stage, and battles and important events were simply announced by a messenger. The classic drama also drew a sharp line between tragedy and comedy, all fun being rigorously excluded from serious representations.

The English drama, on the other hand, strove to represent the whole sweep of life in a single play. The scene changed rapidly; the same actors appeared now at home, now at court, now on the battlefield; and vigorous action filled the stage before the eyes of the spectators. The child of one act appeared as the man of the next, and the imagination of the spectator was called upon to bridge the gaps from place to place and from year to year. So the dramatist had free scope to present all life in a single place and a single hour. Moreover, since the world is always laughing and always crying at the same moment, tragedy and comedy were presented side by side, as they are in life itself. As Hamlet sings, after the play that amused the court but struck the king with deadly fear:

    Why, let the stricken deer go weep,
    The hart ungalled play;
    For some must watch, while some must sleep:
    So runs the world away.

Two Schools of DramaNaturally, with these two ideals struggling to master the English drama, two schools of writers arose. The University Two Schools Wits, as men of learning were called, generally of Drama upheld the classical ideal, and ridiculed²⁵⁰ the crude-ness of the new English plays. Sackville and Norton were of this class, and "Gorboduc" was classic in its construction. In the "Defense of Poesie" Sidney upholds the classics and ridicules²⁵² the too ambitious scope of the English drama. Against these were the popular playwrights, Lyly, Peele, Greene, Marlowe, and many others, who recognized the English love of action and disregarded the dramatic unities in their endeavor to present life as it is. In the end the native drama prevailed, aided by the popular taste which had been trained by four centuries of Miracles. Our first plays, especially of the romantic type, were extremely crude and often led to ridiculously extravagant²⁵³ scenes; and here is where the classic drama exercised an immense influence for good, by insisting upon beauty of form and definiteness of structure at a time when the tendency was to satisfy a taste for stage spectacles without regard to either.

The TheaterIn the year 1574 a royal permit to Lord Leicester's actors allowed them "to give plays anywhere throughout our realm of England," and this must be regarded as the beginning of the regular drama. Two years later the first playhouse, known as "The Theater," was built for these actors by James Burbage in Finsbury Fields, just north of London. It was in this theater that Shakespeare probably found employment when he first came to the city. The success of this venture was immediate²⁵⁴, and the next thirty years saw a score of theatrical²⁵⁵ companies, at least seven regular theaters, and a dozen or more inn yards permanently²⁵⁶ fitted for the giving of plays,--all established in the city and its immediate suburbs. The growth seems all the more remarkable when we remember that the London of those days would now be considered a small city, having (in 1600) only about a hundred thousand inhabitants.

A Dutch traveler, Johannes de Witt, who visited London in 1596, has given us the only contemporary drawing we possess of the interior of one of these theaters. They were built of stone and wood, round or octagonal in shape, and without a roof, being simply an inclosed courtyard. At one side was the stage, and before it on the bare ground, or pit, stood that large part of the audience who could afford to pay only an admission fee. The players and these groundlings were exposed to the weather; those that paid for seats were in galleries sheltered by a narrow porch-roof projecting inwards from the encircling walls; while the young nobles and gallants, who came to be seen and who could afford the extra fee, took seats on the stage itself, and smoked and chaffed the actors and threw nuts at the groundlings.[133] The whole idea of these first theaters, according to De Witt, was like that of the Roman amphitheater; and the resemblance was heightened by the fact that, when no play was on the boards, the stage might be taken away and the pit given over to bull and bear baiting.

The StageIn all these theaters, probably, the stage consisted of a bare platform, with a curtain or "traverse" across the middle, separating the front from the rear stage. On the latter unexpected scenes or characters were "discovered" by simply drawing the curtain aside. At first little or no scenery was used, a gilded²⁵⁸ sign being the only announcement of a change of scene; and this very lack of scenery led to better acting, since the actors must be realistic enough to make the audience forget its shabby surroundings.[134] By Shakespeare's day, however, painted scenery had appeared, first at university plays, and then in the regular theaters.[135] In all our first plays female parts were taken by boy actors, who evidently were more distressing²⁵⁹ than the crude scenery, for contemporary literature has many satirical references to their acting,[136] and even the tolerant Shakespeare writes:

    Some squeaking²⁶⁰ Cleopatra boy my greatness.

However that may be, the stage was deemed unfit for women, and actresses were unknown in England until after the Restoration.

Shakespeare's Predecessors in the Drama. The English drama as it developed from the Miracle plays has an interesting history. It began with schoolmasters, like Udall, who translated and adapted Latin plays for their boys to act, and who were naturally governed by classic ideals. It was continued by the choir masters of St. Paul and the Royal and the Queen's Chapel²⁶¹, whose companies of choir-boy actors were famous in London and rivaled the players of the regular theaters.[137] These choir masters were our first stage managers. They began with masques and interludes and the dramatic presentation of classic myths modeled after the Italians; but some of them, like Richard Edwards (choir master of the Queen's Chapel in 1561), soon added farces²⁶² from English country life and dramatized some of Chaucer's stories. Finally, the regular playwrights, Kyd, Nash, Lyly, Peele, Greene, and Marlowe, brought the English drama to the point where Shakespeare began to experiment upon it.

Each of these playwrights added or emphasized some essential element in the drama, which appeared later in the work of Shakespeare. Thus John Lyly (1554?-1606), who is now known chiefly as having developed the pernicious literary style called euphuism,[138] is one of the most influential²⁶⁴ of the early dramatists. His court comedies are remarkable for their witty²⁶⁵ dialogue and for being our first plays to aim definitely at unity and artistic finish. Thomas Kyd's Spanish Tragedy (c. 1585) first gives us the drama, or rather the melodrama²⁶⁶, of passion, copied by Marlowe and Shakespeare. This was the most popular of the early Elizabethan plays; it was revised again and again, and Ben Jonson is said to have written one version and to have acted the chief part of Hieronimo.[139] And Robert Greene (1558?-1592) plays the chief part in the early development of romantic comedy, and gives us some excellent scenes of English country life in plays like Friar Bacon and Friar Bungay.

Methods of the Early DramatistsEven a brief glance at the life and work of these first playwrights shows three noteworthy things which have a bearing on Shakespeare's career: (1) These men were usually actors as well as dramatists. They knew the stage and the audience, and in writing their plays they remembered not only the actor's part but also the audience's love for stories and brave spectacles. "Will it act well, and will it please our audience," were the questions of chief concern to our early dramatists. (2) Their training began as actors; then they revised old plays, and finally became independent writers. In this their work shows an exact parallel with that of Shakespeare. (3) They often worked together, probably as Shakespeare worked with Marlowe and Fletcher, either in revising old plays or in creating new ones. They had a common store of material from which they derived²⁶⁷ their stories and characters, hence their frequent repetition of names; and they often produced two or more plays on the same subject. Much of Shakespeare's work depends, as we shall see, on previous plays; and even his Hamlet uses the material of an earlier play of the same name, probably by Kyd, which was well known to the London stage in 1589, some twelve years before Shakespeare's great work was written.

All these things are significant, if we are to understand the Elizabethan drama and the man who brought it to perfection. Shakespeare was not simply a great genius; he was also a great worker, and he developed in exactly the same way as did all his fellow craftsmen²⁶⁸. And, contrary to the prevalent opinion, the Elizabethan drama is not a Minerva-like creation, springing full grown from the head of one man; it is rather an orderly though rapid development, in which many men bore a part. All our early dramatists are worthy of study for the part they played in the development of the drama; but we can here consider only one, the most typical of all, whose best work is often ranked with that of Shakespeare.

CHRISTOPHER MARLOWE (1564-1593)

Marlowe is one of the most suggestive figures of the English Renaissance, and the greatest of Shakespeare's predecessors. The glory of the Elizabethan drama dates from his Tamburlaine (1587), wherein the whole restless temper of the age finds expression:

    Nature, that framed us of four elements
    Warring within our breasts for regiment²⁶⁹,
    Doth teach us all to have aspiring²⁷⁰ minds:
    Our souls--whose faculties²⁷¹ can comprehend
    The wondrous²⁷² architecture of the world,
    And measure every wandering planet's course,
    Still climbing after knowledge infinite,
    And always moving as the restless spheres--
    Will us to wear ourselves and never rest.
    Tamburlaine, Pt. I, II, vii.

Life. Marlowe was born in Canterbury, only a few months before Shakespeare. He was the son of a poor shoemaker, but through the kindness of a patron was educated at the town grammar school and then at Cambridge. When he came to London (c. 1584), his soul was surging with the ideals of the Renaissance, which later found expression in Faustus, the scholar longing²⁷³ for unlimited²⁷⁴ knowledge and for power to grasp the universe. Unfortunately, Marlowe had also the unbridled passions which mark the early, or Pagan Renaissance, as Taine calls it, and the conceit²²⁵ of a young man just entering the realms of knowledge. He became an actor and lived in a low-tavern²⁷⁵ atmosphere of excess and wretchedness. In 1587, when but twenty-three years old, he produced Tamburlaine, which brought him instant recognition. Thereafter, notwithstanding his wretched life, he holds steadily to a high literary purpose. Though all his plays abound in violence, no doubt reflecting many of the violent scenes in which he lived, he develops his "mighty line" and depicts²⁷⁸ great scenes in magnificent bursts of poetry, such as the stage had never heard before. In five years, while Shakespeare was serving his apprenticeship²⁸⁰, Marlowe produced all his great work. Then he was stabbed in a drunken brawl²⁸¹ and died wretchedly, as he had lived. The Epilogue of Faustus might be written across his tombstone:

    Cut is the branch that might have grown full straight,
    And burned is Apollo's laurel bough²⁸²
    That sometime grew within this learnéd man.

Marlowe's Works. In addition to the poem "Hero and Leander," to which we have referred,[140] Marlowe is famous for four dramas, now known as the Marlowesque or one-man type of tragedy, each revolving²⁸³ about one central personality who is consumed by the lust⁴⁶ of power. The first of these is Tamburlaine, the story of Timur the Tartar. Timur begins as a shepherd chief, who first rebels and then triumphs over the Persian king. Intoxicated²⁸⁴ by his success, Timur rushes like a tempest over the whole East. Seated on his chariot drawn by captive kings, with a caged emperor before him, he boasts of his power which overrides²⁸⁵ all things. Then, afflicted²⁸⁷ with disease, he raves²⁸⁸ against the gods and would overthrow²⁸⁹ them as he has overthrown²⁹⁰ earthly rulers. Tamburlaine is an epic rather than a drama; but one can understand its instant success with a people only half civilized²⁹¹, fond of military glory, and the instant adoption²⁹² of its "mighty line" as the instrument of all dramatic expression.

FaustusFaustus, the second play, is one of the best of Marlowe's works.[141] The story is that of a scholar who longs for infinite knowledge, and who turns from Theology, Philosophy, Medicine, and Law, the four sciences of the time, to the study of magic, much as a child might turn from jewels to tinsel and colored paper. In order to learn magic he sells himself to the devil, on condition that he shall have twenty-four years of absolute power and knowledge. The play is the story of those twenty-four years. Like Tamburlaine, it is lacking in dramatic construction,[142] but has an unusual number of passages of rare poetic beauty. Milton's Satan suggests strongly that the author of Paradise Lost had access to Faustus and used it, as he may also have used Tamburlaine, for the magnificent panorama²⁹³ displayed by Satan in Paradise Regained²⁹⁴. For instance, more than fifty years before Milton's hero says, "Which way I turn is hell, myself am hell," Marlowe had written:

    Faust. How comes it then that thou art out of hell?
    Mephisto. Why this is hell, nor am I out of it.
            Hell hath no limits, nor is circumscribed²⁹⁵
            In one self place; for where we are is hell,
            And where hell is there must we ever be.

Marlowe's third play is The Jew of Malta, a study of the lust for wealth, which centers about Barabas, a terrible old money lender, strongly suggestive of Shylock in The Merchant of Venice. The first part of the play is well constructed, showing a decided advance, but the last part is an accumulation of melodramatic horrors. Barabas is checked in his murderous career by falling into a boiling caldron which he had prepared for another, and dies blaspheming, his only regret being that he has not done more evil in his life.

Marlowe's last play is Edward II, a tragic²⁹⁶ study of a king's weakness and misery²⁹⁷. In point of style and dramatic construction, it is by far the best of Marlowe's plays, and is a worthy predecessor of Shakespeare's historical drama.

Marlowe and ShakespeareMarlowe is the only dramatist of the time who is ever compared with Shakespeare.[143] When we remember that he died at twenty-nine, probably before Shakespeare had produced a single great play, we must wonder what he might have done had he outlived his wretched youth and become a man. Here and there his work is remarkable for its splendid imagination, for the stateliness of its verse, and for its rare bits of poetic beauty; but in dramatic instinct, in wide knowledge of human life, in humor, in delineation²⁹⁸ of woman's character, in the delicate fancy which presents an Ariel as perfectly²⁹⁹ as a Macbeth,--in a word, in all that makes a dramatic genius, Shakespeare stands alone. Marlowe simply prepared the way for the master who was to follow.

Variety of the Early Drama. The thirty years between our first regular English plays and Shakespeare's first comedy[144] witnessed a development of the drama which astonishes us both by its rapidity and variety. We shall better appreciate Shakespeare's work if we glance for a moment at the plays that preceded him, and note how he covers the whole field and writes almost every form and variety of the drama known to his age.

Types of DramaFirst in importance, or at least in popular interest, are the new Chronicle plays, founded upon historical events and characters. They show the strong national spirit of the Elizabethan Age, and their popularity was due largely to the fact that audiences came to the theaters partly to gratify their awakened³⁰⁰ national spirit and to get their first knowledge of national history. Some of the Moralities, like Bayle's King Johan (1538), are crude Chronicle plays, and the early Robin³⁰¹ Hood plays and the first tragedy, Gorboduc, show the same awakened popular interest in English history. During the reign¹ of Elizabeth the popular Chronicle plays increased till we have the record of over two hundred and twenty, half of which are still extant, dealing with almost every important character, real or legendary³⁰², in English history. Of Shakespeare's thirty-seven dramas, ten are true Chronicle plays of English kings; three are from the legendary annals of Britain; and three more are from the history of other nations.

Other types of the early drama are less clearly defined, but we may sum them up under a few general heads: (1) The Domestic Drama began with crude home scenes introduced into the Miracles and developed in a score of different ways, from the coarse humor of Gammer Gurton's Needle to the Comedy of Manners of Jonson and the later dramatists. Shakespeare's Taming of the Shrew and Merry Wives of Windsor belong to this class. (2) The so-called Court Comedy is the opposite of the former in that it represented a different kind of life and was intended for a different audience. It was marked by elaborate dialogue, by jests, retorts, and endless plays on words, rather than by action. It was made popular by Lyly's success, and was imitated in Shakespeare's first or "Lylian" comedies, such as Love's Labour's Lost, and the complicated Two Gentlemen of Verona. (3) Romantic Comedy and Romantic Tragedy suggest the most artistic and finished types of the drama, which were experimented upon by Peele, Greene, and Marlowe, and were brought to perfection in The Merchant of Venice, Romeo and Juliet, and The Tempest. (4) In addition to the above types were several others,--the Classical Plays, modeled upon Seneca and favored by cultivated audiences; the Melodrama, favorite of the groundlings, which depended not on plot or characters but upon a variety of striking scenes and incidents; and the Tragedy of Blood, always more or less melodramatic, like Kyd's Spanish Tragedy, which grew more blood-and-thundery in Marlowe and reached a climax of horrors in Shakespeare's Titus Andronicus. It is noteworthy that Hamlet, Lear, and Macbeth all belong to this class, but the developed genius of the author raised them to a height such as the Tragedy of Blood had never known before.

These varied³⁰³ types are quite enough to show with what doubtful and unguided experiments our first dramatists were engaged, like men first setting out in rafts and dugouts on an unknown sea. They are the more interesting when we remember that Shakespeare tried them all; that he is the only dramatist whose plays cover the whole range of the drama from its beginning to its decline. From the stage spectacle he developed the drama of human life; and instead of the doggerel and bombast³⁰⁴ of our first plays he gives us the poetry of Romeo and Juliet and Midsummer Night's Dream. In a word, Shakespeare brought order out of dramatic chaos³⁰⁵. In a few short years he raised the drama from a blundering experiment to a perfection of form and expression which has never since been rivaled.

IV. SHAKESPEARE

The Wonder of ShakespeareOne who reads a few of Shakespeare's great plays and then the meager³⁰⁶ story of his life is generally filled with a vague wonder. Here is an unknown country boy, poor and poorly educated according to the standards of his age, who arrives at the great city of London and goes to work at odd jobs in a theater. In a year or two he is associated with scholars and dramatists, the masters of their age, writing plays of kings and clowns, of gentlemen and heroes and noble women, all of whose lives he seems to know by intimate association. In a few years more he leads all that brilliant group of poets and dramatists who have given undying glory to the Age of Elizabeth. Play after play runs from his pen, mighty dramas of human life and character following one another so rapidly that good work seems impossible; yet they stand the test of time, and their poetry is still unrivaled in any language. For all this great work the author apparently³⁰⁷ cares little, since he makes no attempt to collect or preserve his writings. A thousand scholars have ever since been busy collecting, identifying, classifying the works which this magnificent workman tossed aside so carelessly when he abandoned the drama and retired³⁰⁸ to his native village. He has a marvelously imaginative and creative mind; but he invents few, if any, new plots or stories. He simply takes an old play or an old poem, makes it over quickly, and lo! this old familiar material glows with the deepest thoughts and the tenderest feelings that ennoble our humanity; and each new generation of men finds it more wonderful than the last. How did he do it? That is still an unanswered question and the source of our wonder.

Illustration: WILLIAM SHAKESPEARE
WILLIAM SHAKESPEARE

Genius or TrainingThere are, in general, two theories to account for Shakespeare. The romantic school of writers have always held that in him "all came from within"; that his genius was his sufficient guide; and that to the overmastering power of his genius alone we owe all his great works. Practical, unimaginative men, on the other hand, assert that in Shakespeare "all came from without," and that we must study his environment rather than his genius, if we are to understand him. He lived in a play-loving age; he studied the crowds, gave them what they wanted, and simply reflected their own thoughts and feelings. In reflecting the English crowd about him he unconsciously reflected all crowds, which are alike in all ages; hence his continued popularity. And in being guided by public sentiment he was not singular, but followed the plain path that every good dramatist has always followed to success.

Probably the truth of the matter is to be found somewhere between these two extremes. Of his great genius there can be no question; but there are other things to consider. As we have already noticed, Shakespeare was trained, like his fellow workmen, first as an actor, second as a reviser of old plays, and last as an independent dramatist. He worked with other playwrights and learned their secret. Like them, he studied and followed the public taste, and his work indicates at least three stages, from his first somewhat crude experiments to his finished masterpieces. So it would seem that in Shakespeare we have the result of hard work and of orderly human development, quite as much as of transcendent genius.

Life (1564-1616). Two outward influences were powerful in developing the genius of Shakespeare,--the little village of Stratford, center of the most beautiful and romantic district in rural England, and the great city of London, the center of the world's political activity. In one he learned to know the natural man in his natural environment; in the other, the social, the artificial man in the most unnatural of surroundings.

From the register of the little parish church at Stratford-on-Avon we learn that William Shakespeare was baptized there on the twenty-sixth of April, 1564 (old style). As it was customary to baptize children on the third day after birth, the twenty-third of April (May 3, according to our present calendar) is generally accepted as the poet's birthday.

His father, John Shakespeare, was a farmer's son from the neighboring village of Snitterfield, who came to Stratford about 1551, and began to prosper³⁸ as a trader in corn, meat, leather, and other agricultural products. His mother, Mary Arden, was the daughter of a prosperous farmer, descended³⁰⁹ from an old Warwickshire family of mixed Anglo-Saxon and Norman blood. In 1559 this married couple sold a piece of land, and the document is signed, "The marke + of John Shacksper. The marke + of Mary Shacksper"; and from this it has been generally inferred that, like the vast majority of their countrymen, neither of the poet's parents could read or write. This was probably true of his mother; but the evidence from Stratford documents now indicates that his father could write, and that he also audited³¹⁰ the town accounts; though in attesting³¹¹ documents he sometimes made a mark, leaving his name to be filled in by the one who drew up the document.

Of Shakespeare's education we know little, except that for a few years he probably attended the endowed grammar school at Stratford, where he picked up the "small Latin and less Greek" to which his learned friend Ben Jonson refers. His real teachers, meanwhile, were the men and women and the natural influences which surrounded him. Stratford is a charming little village in beautiful Warwickshire, and near at hand were the Forest of Arden, the old castles of Warwick and Kenilworth, and the old Roman camps and military roads, to appeal powerfully to the boy's lively imagination. Every phase of the natural beauty of this exquisite region is reflected in Shakespeare's poetry; just as his characters reflect the nobility and the littleness, the gossip, vices, emotions, prejudices, and traditions of the people about him.

    I saw a smith stand with his hammer, thus,
    The whilst his iron did on the anvil³¹² cool,
    With open mouth swallowing a tailor's news;
    Who, with his shears³¹³ and measure in his hand,
    Standing²⁷⁶ on slippers³¹⁴, which his nimble haste
    Had falsely thrust upon contrary feet,
    Told of a many thousand warlike French
    That were embattailed and ranked in Kent.[145]

Such passages suggest not only genius but also a keen, sympathetic observer, whose eyes see every significant detail. So with the nurse in Romeo and Juliet, whose endless gossip and vulgarity cannot quite hide a kind heart. She is simply the reflection of some forgotten nurse with whom Shakespeare had talked by the wayside.

Not only the gossip but also the dreams, the unconscious poetry that sleeps in the heart of the common people, appeal tremendously to Shakespeare's imagination and are reflected in his greatest plays. Othello tries to tell a curt²⁴² soldier's story of his love; but the account is like a bit of Mandeville's famous travels, teeming³¹⁵ with the fancies that filled men's heads when the great round world was first brought to their attention by daring explorers. Here is a bit of folklore³¹⁶, touched by Shakespeare's exquisite fancy, which shows what one boy listened to before the fire at Halloween:

                                                          She comes
    In shape no bigger than an agate-stone
    On the fore-finger of an alderman,
    Drawn with a team of little atomies
    Athwart men's noses as they lie asleep;
    Her waggon-spokes made of long spinners' legs,
    The cover of the wings of grasshoppers³¹⁷,
    The traces of the smallest spider's web,
    The collars of the moonshine's watery³¹⁸ beams,
    Her whip of cricket's bone, the lash³¹⁹ of film,
    Her waggoner a small grey-coated gnat³²⁰,
    Her chariot is an empty hazel nut
    Made by the joiner squirrel, or old grub,
    Time out o' mind the fairies' coachmakers.
    And in this state she gallops³²² night by night
    Through lovers' brains, and then they dream of love;
    O'er lawyers' fingers, who straight dream on fees,
    O'er ladies' lips, who straight on kisses dream.[146]

So with Shakespeare's education at the hands of Nature, which came from keeping his heart as well as his eyes wide open to the beauty of the world. He speaks of a horse, and we know the fine points of a thoroughbred; he mentions the duke's hounds, and we hear them clamoring on a fox trail, their voices matched like bells in the frosty air; he stops for an instant in the sweep of a tragedy to note a flower, a star, a moonlit bank, a hilltop touched by the sunrise, and instantly we know what our own hearts felt but could not quite express when we saw the same thing. Because he notes and remembers every significant thing in the changing panorama of earth and sky, no other writer has ever approached him in the perfect natural setting of his characters.

When Shakespeare was about fourteen years old his father lost his little property and fell into debt, and the boy probably left school to help support the family of younger children. What occupation he followed for the next eight years is a matter of conjecture³²³. From evidence found in his plays, it is alleged³²⁴ with some show of authority that he was a country schoolmaster and a lawyer's clerk, the character of Holofernes, in Love's Labour's Lost, being the warrant for one, and Shakespeare's knowledge of law terms for the other. But if we take such evidence, then Shakespeare must have been a botanist³²⁵, because of his knowledge of wild flowers; a sailor, because he knows the ropes; a courtier, because of his extraordinary facility in quips and compliments and courtly language; a clown, because none other is so dull and foolish; a king, because Richard and Henry are true to life; a woman, because he has sounded the depths of a woman's feelings; and surely a Roman, because in Coriolanus and Julius C?sar he has shown us the Roman spirit better than have the Roman writers themselves. He was everything, in his imagination, and it is impossible from a study of his scenes and characters to form a definite opinion as to his early occupation.

Illustration: ANNE HATHAWAY COTTAGE
ANNE HATHAWAY COTTAGE

In 1582 Shakespeare was married to Anne Hathaway, the daughter of a peasant family of Shottery, who was eight years older than her boy husband. From numerous sarcastic³²⁶ references to marriage made by the characters in his plays, and from the fact that he soon left his wife and family and went to London, it is generally alleged that the marriage was a hasty and unhappy one; but here again the evidence is entirely³²⁷ untrustworthy. In many Miracles as well as in later plays it was customary to depict²⁷⁷ the seamy side of domestic life for the amusement of the crowd; and Shakespeare may have followed the public taste in this as he did in other things. The references to love and home and quiet joys in Shakespeare's plays are enough, if we take such evidence, to establish firmly the opposite supposition, that his love was a very happy one. And the fact that, after his enormous success in London, he retired to Stratford to live quietly with his wife and daughters, tends to the same conclusion.

About the year 1587 Shakespeare left his family and went to London and joined himself to Burbage's company of players. A persistent³²⁸ tradition says that he had incurred³²⁹ the anger of Sir Thomas Lucy, first by poaching deer in that nobleman's park, and then, when haled before a magistrate¹⁵⁴, by writing a scurrilous³³⁰ ballad about Sir Thomas, which so aroused the old gentleman's ire that Shakespeare was obliged to flee the country. An old record[147] says that the poet "was much given to all unluckiness in stealing venison and rabbits," the unluckiness probably consisting in getting caught himself, and not in any lack of luck in catching the rabbits. The ridicule²⁵¹ heaped upon the Lucy family in Henry IV and the Merry Wives of Windsor gives some weight to this tradition. Nicholas Rowe, who published the first life of Shakespeare,[148] is the authority for this story; but there is some reason to doubt whether, at the time when Shakespeare is said to have poached in the deer park of Sir Thomas Lucy at Charlescote, there were any deer or park at the place referred to. The subject is worthy of some scant attention, if only to show how worthless is the attempt to construct out of rumor³³¹ the story of a great life which, fortunately perhaps, had no contemporary biographer.

Of his life in London from 1587 to 1611, the period of his greatest literary activity, we know nothing definitely. We can judge only from his plays, and from these it is evident that he entered into the stirring life of England's capital with the same perfect sympathy and understanding that marked him among the plain people of his native Warwickshire. The first authentic³³² reference to him is in 1592, when Greene's[149] bitter attack appeared, showing plainly that Shakespeare had in five years assumed an important position among playwrights. Then appeared the apology of the publishers of Greene's pamphlet, with their tribute to the poet's sterling³³³ character, and occasional literary references which show that he was known among his fellows as "the gentle Shakespeare." Ben Jonson says of him: "I loved the man and do honor his memory, on this side idolatry, as much as any. He was indeed honest, and of an open and free nature." To judge from only three of his earliest plays[150] it would seem reasonably evident that in the first five years of his London life he had gained entrance to the society of gentlemen and scholars, had caught their characteristic mannerisms and expressions, and so was ready by knowledge and observation as well as by genius to weave into his dramas the whole stirring life of the English people. The plays themselves, with the testimony³³⁴ of contemporaries and his business success, are strong evidence against the tradition that his life in London was wild and dissolute, like that of the typical actor and playwright²³⁶ of his time.

Shakespeare's first work may well have been that of a general helper, an odd-job man, about the theater; but he soon became an actor, and the records of the old London theaters show that in the next ten years he gained a prominent place, though there is little reason to believe that he was counted among the "stars." Within two years he was at work on plays, and his course here was exactly like that of other playwrights of his time. He worked with other men, and he revised old plays before writing his own, and so gained a practical knowledge of his art. Henry VI (c. 1590-1591) is an example of this tinkering work, in which, however, his native power is unmistakably manifest. The three parts of Henry VI (and Richard III, which belongs with them) are a succession of scenes from English Chronicle history strung together very loosely; and only in the last is there any definite attempt at unity. That he soon fell under Marlowe's influence is evident from the atrocities³³⁵ and bombast of Titus Andronicus and Richard III. The former may have been written by both playwrights in collaboration³³⁶, or may be one of Marlowe's horrors left unfinished by his early death and brought to an end by Shakespeare. He soon broke away from this apprentice²⁷⁹ work, and then appeared in rapid succession Love's Labour's Lost, Comedy of Errors, Two Gentlemen of Verona, the first English Chronicle plays,[151] A Midsummer Night's Dream, and Romeo and Juliet. This order is more or less conjectural³³⁷; but the wide variety of these plays, as well as their unevenness³³⁸ and frequent crudities, marks the first or experimental stage of Shakespeare's work. It is as if the author were trying his power, or more likely trying the temper of his audience. For it must be remembered that to please his audience was probably the ruling motive of Shakespeare, as of the other early dramatists, during the most vigorous and prolific period of his career.

Illustration: BIRTHPLACE OF SHAKESPEARE
BIRTHPLACE OF SHAKESPEARE

Shakespeare's poems, rather than his dramatic work, mark the beginning of his success. "Venus and Adonis" became immensely popular in London, and its dedication³³⁹ to the Earl of Southampton brought, according to tradition, a substantial money gift, which may have laid the foundation for Shakespeare's business success. He appears to have shrewdly invested his money, and soon became part owner of the Globe and Blackfriars theaters, in which his plays were presented by his own companies. His success and popularity grew amazingly. Within a decade of his unnoticed arrival in London he was one of the most famous actors and literary men in England.

Following his experimental work there came a succession of wonderful plays,--Merchant of Venice, As You Like It, Twelfth Night, Julius C?sar, Hamlet, Macbeth, Othello, King Lear, Antony and Cleopatra. The great tragedies of this period are associated with a period of gloom and sorrow in the poet's life; but of its cause we have no knowledge. It may have been this unknown sorrow which turned his thoughts back to Stratford and caused, apparently, a dissatisfaction with his work and profession; but the latter is generally attributed to other causes. Actors and playwrights were in his day generally looked upon with suspicion or contempt; and Shakespeare, even in the midst of success, seems to have looked forward to the time when he could retire to Stratford to live the life of a farmer and country gentleman. His own and his father's families were first released from debt; then, in 1597, he bought New Place, the finest house in Stratford, and soon added a tract²⁰⁶ of farming land to complete his estate. His profession may have prevented his acquiring the title of "gentleman," or he may have only followed a custom of the time[152] when he applied³⁴⁰ for and obtained a coat of arms for his father, and so indirectly³⁴¹ secured the title by inheritance. His home visits grew more and more frequent till, about the year 1611, he left London and retired permanently to Stratford.

Illustration: TRINITY CHURCH, STRATFORD-ON-AVON
TRINITY CHURCH, STRATFORD-ON-AVON

Though still in the prime of life, Shakespeare soon abandoned his dramatic work for the comfortable life of a country gentleman. Of his later plays, Coriolanus, Cymbeline, Winter's Tale, and Pericles show a decided falling off from his previous work, and indicate another period of experimentation³⁴²; this time not to test his own powers but to catch the fickle³⁴³ humor of the public. As is usually the case with a theater-going people, they soon turned from serious drama to sentimental³⁴⁴ or more questionable³⁴⁵ spectacles; and with Fletcher, who worked with Shakespeare and succeeded him as the first playwright of London, the decline of the drama had already begun. In 1609, however, occurred an event which gave Shakespeare his chance for a farewell to the public. An English ship disappeared, and all on board were given up for lost. A year later the sailors returned home, and their arrival created intense excitement. They had been wrecked³⁴⁶ on the unknown Bermudas, and had lived there for ten months, terrified by mysterious noises which they thought came from spirits and devils. Five different accounts of this fascinating shipwreck³⁴⁷ were published, and the Bermudas became known as the "Ile of Divels." Shakespeare took this story--which caused as much popular interest as that later shipwreck which gave us Robinson Crusoe--and wove it into The Tempest. In the same year (1611) he probably sold his interest in the Globe and Blackfriars theaters, and his dramatic work was ended. A few plays were probably left unfinished[153] and were turned over to Fletcher and other dramatists.

That Shakespeare thought little of his success and had no idea that his dramas were the greatest that the world ever produced seems evident from the fact that he made no attempt to collect or publish his works, or even to save his manuscripts, which were carelessly left to stage managers of the theaters, and so found their way ultimately to the ragman. After a few years of quiet life, of which we have less record than of hundreds of simple country gentlemen of the time, Shakespeare died on the probable anniversary of his birth, April 23, 1616. He was given a tomb in the chancel of the parish church, not because of his pre?minence in literature, but because of his interest in the affairs of a country village. And in the sad irony³⁴⁸ of fate, the broad stone that covered his tomb--now an object of veneration³⁴⁹ to the thousands that yearly visit the little church--was inscribed³⁵⁰ as follows:

    Good friend, for Jesus' sake forbeare
    To dig the dust enclosed heare;
    Bleste be the man that spares these stones,
    And curst be he that moves my bones.

This wretched doggerel, over the world's greatest poet, was intended, no doubt, as a warning to some stupid sexton, lest he should empty the grave and give the honored place to some amiable³⁵¹ gentleman who had given more tithes³⁵² to the parish.

Works of Shakespeare. At the time of Shakespeare's death twenty-one plays existed in manuscripts in the various theaters. A few others had already been printed in quarto form, and the latter are the only publications that could possibly have met with the poet's own approval. More probably they were taken down in shorthand by some listener at the play and then "pirated" by some publisher for his own profit. The first printed collection of his plays, now called the First Folio (1623), was made by two actors, Heming and Condell, who asserted that they had access to the papers of the poet and had made a perfect edition, "in order to keep the memory of so worthy a friend and fellow alive." This contains thirty-six of the thirty-seven plays generally attributed to Shakespeare, Pericles being omitted. This celebrated First Folio was printed from playhouse manuscripts and from printed quartos containing many notes and changes by individual actors and stage managers. Moreover, it was full of typographical errors, though the editors alleged great care and accuracy; and so, though it is the only authoritative³⁵³ edition we have, it is of little value in determining the dates, or the classification of the plays as they existed in Shakespeare's mind.

Four PeriodsNotwithstanding this uncertainty, a careful reading of the plays and poems leaves us with an impression of four different periods of work, probably corresponding with the growth and experience of the poet's life. These are: (1) a period of early experimentation. It is marked by youthfulness and exuberance³⁵⁴ of imagination, by extravagance of language, and by the frequent use of rimed couplets with his blank verse. The period dates from his arrival in London to 1595. Typical works of this first period are his early poems, Love's Labour's Lost, Two Gentlemen of Verona, and Richard III. (2) A period of rapid growth and development, from 1595 to 1600. Such plays as The Merchant of Venice, Midsummer Night's Dream, As You Like It, and Henry IV, all written in this period, show more careful and artistic work, better plots, and a marked increase in knowledge of human nature. (3) A period of gloom and depression, from 1600 to 1607, which marks the full maturity³⁵⁵ of his powers. What caused this evident sadness is unknown; but it is generally attributed to some personal experience, coupled with the political misfortunes of his friends, Essex and Southampton. The Sonnets with their note of personal disappointment, Twelfth Night, which is Shakespeare's "farewell to mirth," and his great tragedies, Hamlet, Lear, Macbeth, Othello, and Julius C?sar, belong to this period. (4) A period of restored serenity³⁵⁶, of calm after storm, which marked the last years of the poet's literary work. The Winter's Tale and The Tempest are the best of his later plays; but they all show a falling off from his previous work, and indicate a second period of experimentation with the taste of a fickle public.

To read in succession four plays, taking a typical work from each of the above periods, is one of the very best ways of getting quickly at the real life and mind of Shakespeare. Following is a complete list with the approximate dates of his works, classified according to the above four periods.

First Period, Early Experiment. Venus and Adonis, Rape³⁵⁷ of Lucrece, 1594; Titus Andronicus, Henry VI (three parts), 1590-1591; Love's Labour's Lost, 1590; Comedy of Errors, Two Gentlemen of Verona, 1591-1592; Richard-III, 1593; Richard II, King John, 1594-1595.

Second Period, Development. Romeo and Juliet, Midsummer Night's Dream, 1595; Merchant of Venice, Henry IV (first part), 1596; Henry IV (second part), Merry Wives of Windsor, 1597; Much Ado About Nothing, 1598; As You Like It, Henry V, 1599.

Third Period, Maturity and Gloom. Sonnets (1600-?), Twelfth Night, 1600; Taming of the Shrew, Julius C?sar, Hamlet, Troilus and Cressida, 1601-1602; All's Well That Ends Well, Measure for Measure, 1603; Othello, 1604; King Lear, 1605; Macbeth, 1606; Antony and Cleopatra, Timon of Athens, 1607.

Fourth Period, Late Experiment. Coriolanus, Pericles, 1608; Cymbeline, 1609; Winter's Tale, 1610-1611; The Tempest, 1611; Henry VIII (unfinished).

Classification according to Source. In history, legend, and story, Shakespeare found the material for nearly all his dramas; and so they are often divided into three classes, called historical plays, like Richard III and Henry V; legendary or partly historical plays, like Macbeth, King Lear, and Julius C?sar; and fictional³⁵⁸ plays, like Romeo and Juliet and The Merchant of Venice. Shakespeare invented few, if any, of the plots or stories upon which his dramas are founded, but borrowed them freely, after the custom of his age, wherever he found them. For his legendary and historical material he depended, largely on Holinshed's Chronicles of England, Scotland, and Ireland, and on North's translation of Plutarch's famous Lives.

Illustration: Property of the Metropolitan³⁵⁹ Museum of Art PORTIA After the portrait by John Everett Millais
Property of the Metropolitan Museum of Art PORTIA After the portrait by John Everett Millais

A full half of his plays are fictional, and in these he used the most popular romances of the day, seeming to depend most on the Italian story-tellers. Only two or three of his plots, as in Love's Labour's Lost and Merry Wives of Windsor, are said to be original, and even these are doubtful. Occasionally Shakespeare made over an older play, as in Henry VI, Comedy of Errors, and Hamlet; and in one instance at least he seized upon an incident of shipwreck in which London was greatly interested, and made out of it the original and fascinating play of The Tempest, in much the same spirit which leads our modern playwrights when they dramatize a popular novel or a war story to catch the public fancy.

Classification according to Dramatic Type. Shakespeare's dramas are usually divided into three classes, called tragedies, comedies, and historical plays. Strictly speaking the drama has but two divisions, tragedy and comedy, in which are included the many subordinate forms of tragi-comedy, melodrama, lyric³⁶⁰ drama (opera), farce²⁶³, etc. A tragedy is a drama in which the principal characters are involved in desperate circumstances or led by overwhelming passions. It is invariably serious and dignified³⁶¹. The movement is always stately, but grows more and more rapid as it approaches the climax; and the end is always calamitous³⁶², resulting in death or dire¹³ misfortune to the principals. As Chaucer's monk says, before he begins to "biwayle in maner of tragedie":

    Tragedie is to seyn a certeyn storie
    Of him that stood in great prosperitee,
    And is y-fallen out of heigh degree
    Into miserie, and endeth wrecchedly.

A comedy, on the other hand, is a drama in which the characters are placed in more or less humorous situations. The movement is light and often mirthful, and the play ends in general good will and happiness. The historical drama aims to present some historical age or character, and may be either a comedy or a tragedy. The following list includes the best of Shakespeare's plays in each of the three classes; but the order indicates merely the author's personal opinion of the relative merits of the plays in each class. Thus Merchant of Venice would be the first of the comedies for the beginner to read, and Julius C?sar is an excellent introduction to the historical plays and the tragedies.

Comedies. Merchant of Venice, Midsummer Night's Dream, As You Like It, Winter's Tale, The Tempest, Twelfth Night.

Tragedies. Romeo and Juliet, Macbeth, Hamlet, King Lear, Othello.

Historical Plays. Julius C?sar, Richard III, Henry IV, Henry V, Coriolanus, Antony and Cleopatra.

Doubtful Plays. It is reasonably certain that some of the plays generally attributed to Shakespeare are partly the work of other dramatists. The first of these doubtful plays, often called the Pre-Shakespearian Group, are Titus Andronicus and the first part of Henry VI. Shakespeare probably worked with Marlowe in the two last parts of Henry VI and in Richard III. The three plays, Taming of the Shrew, Timon, and Pericles are only partly Shakespeare's work, but the other authors are unknown. Henry VIII is the work of Fletcher and Shakespeare, opinion being divided as to whether Shakespeare helped Fletcher, or whether it was an unfinished work of Shakespeare which was put into Fletcher's hands for completion. Two Noble Kinsmen³⁶³ is a play not ordinarily found in editions of Shakespeare, but it is often placed among his doubtful works. The greater part of the play is undoubtedly by Fletcher. Edward III is one of several crude plays published at first anonymously³⁶⁴ and later attributed to Shakespeare by publishers who desired to sell their wares³⁶⁵. It contains a few passages that strongly suggest Shakespeare; but the external evidence is all against his authorship.

Shakespeare's Poems. It is generally asserted that, if Shakespeare had written no plays, his poems alone would have given him a commanding place in the Elizabethan Age. Nevertheless, in the various histories of our literature there is apparent a desire to praise and pass over all but the Sonnets as rapidly as possible; and the reason may be stated frankly³⁶⁶. His two long poems, "Venus and Adonis" and "The Rape of Lucrece," contain much poetic fancy; but it must be said of both that the subjects are unpleasant, and that they are dragged out to unnecessary length in order to show the play of youthful imagination. They were extremely popular in Shakespeare's day, but in comparison with his great dramatic works these poems are now of minor importance.

Shakespeare's Sonnets, one hundred and fifty-four in number, are the only direct expression of the poet's own feelings that we possess; for his plays are the most impersonal³⁶⁷ in all literature. They were published together in 1609; but if they had any unity in Shakespeare's mind, their plan and purpose are hard to discover. By some critics they are regarded as mere¹⁶⁵ literary exercises; by others as the expression of some personal grief during the third period of the poet's literary career. Still others, taking a hint from the sonnet⁷¹ beginning "Two loves I have, of comfort and despair," divide them all into two classes, addressed to a man who was Shakespeare's friend, and to a woman who disdained³⁶⁸ his love. The reader may well avoid such classifications and read a few sonnets, like the twenty-ninth, for instance, and let them speak their own message. A few are trivial and artificial enough, suggesting the elaborate exercises of a piano player; but the majority are remarkable for their subtle thought and exquisite expression. Here and there is one, like that beginning

    When to the sessions of sweet silent thought
    I summon up remembrance of things past,

which will haunt the reader long afterwards, like the remembrance of an old German melody.

Shakespeare's Place and Influence. Shakespeare holds, by general acclamation, the foremost place in the world's literature, and his overwhelming greatness renders it difficult to criticise³⁶⁹ or even to praise him. Two poets only, Homer and Dante, have been named with him; but each of these wrote within narrow limits, while Shakespeare's genius included all the world of nature and of men. In a word, he is the universal poet. To study nature in his works is like exploring a new and beautiful country; to study man in his works is like going into a great city, viewing the motley crowd as one views a great masquerade in which past and present mingle³⁷⁰ freely and familiarly, as if the dead were all living again. And the marvelous thing, in this masquerade of all sorts and conditions of men, is that Shakespeare lifts the mask from every face, lets us see the man as he is in his own soul, and shows us in each one some germ of good, some "soul of goodness" even in things evil. For Shakespeare strikes no uncertain note, and raises no doubts to add to the burden of your own. Good always overcomes evil in the long run; and love, faith, work, and duty are the four elements that in all ages make the world right. To criticise or praise the genius that creates these men and women is to criticise or praise humanity itself.

Of his influence in literature it is equally difficult to speak. Goethe expresses the common literary judgment when he says, "I do not remember that any book or person or event in my life ever made so great an impression upon me as the plays of Shakespeare." His influence upon our own language and thought is beyond calculation. Shakespeare and the King James Bible are the two great conservators of the English speech; and one who habitually³⁷¹ reads them finds himself possessed of a style and vocabulary that are beyond criticism. Even those who read no Shakespeare are still unconsciously guided by him, for his thought and expression have so pervaded³⁷² our life and literature that it is impossible, so long as one speaks the English language, to escape his influence.

    His life was gentle, and the elements
    So mixed in him, that Nature might stand up
    And say to all the world, "This was a man!"

Illustration: AMERICAN MEMORIAL WINDOW IN THE CHURCH OF THE HOLY TRINITY, STRATFORD-ON-AVON
AMERICAN MEMORIAL WINDOW IN THE CHURCH OF THE HOLY TRINITY, STRATFORD-ON-AVON

V. SHAKESPEARE'S CONTEMPORARIES AND SUCCESSORS IN THE DRAMA

Decline of the Drama. It was inevitable that the drama should decline after Shakespeare, for the simple reason that there was no other great enough to fill his place. Aside from this, other causes were at work, and the chief of these was at the very source of the Elizabethan dramas. It must be remembered that our first playwrights wrote to please their audiences; that the drama rose in England because of the desire of a patriotic³⁷³ people to see something of the stirring life of the times reflected on the stage. For there were no papers or magazines in those days, and people came to the theaters not only to be amused but to be informed. Like children, they wanted to see a story acted; and like men, they wanted to know what it meant. Shakespeare fulfilled their desire. He gave them their story, and his genius was great enough to show in every play not only their own life and passions but something of the meaning of all life, and of that eternal justice which uses the war of human passions for its own great ends. Thus good and evil mingle freely in his dramas; but the evil is never attractive, and the good triumphs as inevitably as fate. Though his language is sometimes coarse, we are to remember that it was the custom of his age to speak somewhat coarsely, and that in language, as in thought and feeling, Shakespeare is far above most of his contemporaries.

With his successors all this was changed. The audience itself had gradually changed, and in place of plain people eager for a story and for information, we see a larger and larger proportion of those who went to the play because they had nothing else to do. They wanted amusement only, and since they had blunted by idleness the desire for simple and wholesome³⁷⁴ amusement, they called for something more sensational³⁷⁵. Shakespeare's successors catered³⁷⁶ to the depraved tastes of this new audience. They lacked not only Shakespeare's genius, but his broad charity, his moral insight into life. With the exception of Ben Jonson, they neglected the simple fact that man in his deepest nature is a moral being, and that only a play which satisfies the whole nature of man by showing the triumph of the moral law can ever wholly satisfy an audience or a people. Beaumont and Fletcher, forgetting the deep meaning of life, strove for effect by increasing the sensationalism of their plays; Webster reveled in tragedies of blood and thunder; Massinger and Ford²⁵⁷ made another step downward, producing evil and licentious³⁷⁷ scenes for their own sake, making characters and situations more immoral³⁷⁸ till, notwithstanding these dramatists' ability, the stage had become insincere, frivolous³⁷⁹, and bad. Ben Jonson's ode, "Come Leave the Loathed³⁸⁰ Stage," is the judgment of a large and honest nature grown weary of the plays and the players of the time. We read with a sense of relief that in 1642, only twenty-six years after Shakespeare's death, both houses of Parliament voted to close the theaters as breeders of lies and immorality³⁸¹.

BEN JONSON (1573?-1637)

Personally Jonson is the most commanding literary figure among the Elizabethans. For twenty-five years he was the literary dictator of London, the chief of all the wits that gathered nightly at the old Devil Tavern. With his great learning, his ability, and his commanding position as poet laureate, he set himself squarely against his contemporaries and the romantic tendency of the age. For two things he fought bravely,--to restore the classic form of the drama, and to keep the stage from its downward course. Apparently he failed; the romantic school fixed³⁸² its hold more strongly than ever; the stage went swiftly to an end as sad as that of the early dramatists. Nevertheless his influence lived and grew more powerful till, aided largely by French influence, it resulted in the so-called classicism of the eighteenth century.

Life. Jonson was born at Westminster about the year 1573. His father, an educated gentleman, had his property confiscated and was himself thrown into prison by Queen Mary; so we infer the family was of some prominence³⁸³. From his mother he received certain strong characteristics, and by a single short reference in Jonson's works we are led to see the kind of woman she was. It is while Jonson is telling Drummond of the occasion when he was thrown into prison, because some passages in the comedy of Eastward³⁸⁴ Ho! gave offense to King James, and he was in danger of a horrible death, after having his ears and nose cut off. He tells us how, after his pardon, he was banqueting with his friends, when his "old mother" came in and showed a paper full of "lusty strong poison," which she intended to mix with his drink just before the execution. And to show that she "was no churl," she intended first to drink of the poison herself. The incident is all the more suggestive from the fact that Chapman and Marston, one his friend and the other his enemy, were first cast into prison as the authors of Eastward Ho! and rough Ben Jonson at once declared that he too had had a small hand in the writing and went to join them in prison.

Illustration: BEN JONSON
BEN JONSON

Jonson's father came out of prison, having given up his estate, and became a minister. He died just before the son's birth, and two years later the mother married a bricklayer of London. The boy was sent to a private school, and later made his own way to Westminster School, where the submaster, Camden, struck by the boy's ability, taught and largely supported him. For a short time he may have studied at the university in Cambridge; but his stepfather soon set him to learning the bricklayer's trade. He ran away from this, and went with the English army to fight Spaniards in the Low Countries. His best known exploit there was to fight a duel³⁸⁵ between the lines with one of the enemy's soldiers, while both armies looked on. Jonson killed his man, and took his arms, and made his way back to his own lines in a way to delight the old Norman troubadours. He soon returned to England, and married precipitately³⁸⁶ when only nineteen or twenty years old. Five years later we find him employed, like Shakespeare, as actor and reviser of old plays in the theater. Thereafter his life is a varied and stormy one. He killed an actor in a duel, and only escaped hanging by pleading "benefit of clergy";[154] but he lost all his poor goods and was branded for life on his left thumb. In his first great play, Every Man in His Humour (1598), Shakespeare acted one of the parts; and that may have been the beginning of their long friendship. Other plays followed rapidly. Upon the accession of James, Jonson's masques won him royal favor, and he was made poet laureate. He now became undoubted leader of the literary men of his time, though his rough honesty and his hatred³⁸⁷ of the literary tendencies of the age made him quarrel with nearly all of them. In 1616, soon after Shakespeare's retirement³⁸⁸, he stopped writing for the stage and gave himself up to study and serious work. In 1618 he traveled on foot to Scotland, where he visited Drummond, from whom we have the scant records of his varied life. His impressions of this journey, called Foot Pilgrimage, were lost in a fire before publication. Thereafter he produced less, and his work declined in vigor¹⁷²; but spite of growing poverty and infirmity we notice in his later work, especially in the unfinished Sad Shepherd, a certain mellowness³⁸⁹ and tender human sympathy which were lacking in his earlier productions. He died poverty stricken in 1637. Unlike Shakespeare's, his death was mourned as a national calamity, and he was buried with all honor in Westminster Abbey. On his grave was laid a marble slab³⁹⁰, on which the words "O rare Ben Jonson" were his sufficient epitaph.

Works of Ben Jonson. Jonson's work is in strong contrast with that of Shakespeare and of the later Elizabethan dramatists. Alone he fought against the romantic tendency of the age, and to restore the classic standards. Thus the whole action of his drama usually covers only a few hours, or a single day. He never takes liberties with historical facts, as Shakespeare does, but is accurate to the smallest detail. His dramas abound in classical learning, are carefully and logically constructed, and comedy and tragedy are kept apart, instead of crowding each other as they do in Shakespeare and in life. In one respect his comedies are worthy of careful reading,--they are intensely realistic, presenting men and women of the time exactly as they were. From a few of Jonson's scenes we can understand--better than from all the plays of Shakespeare--how men talked and acted during the Age of Elizabeth.

Every Man in His HumourJonson's first comedy, Every Man in His Humour, is a key to all his dramas. The word "humour" in his age stood for some characteristic whim³⁹² or quality of society. Jonson gives to his leading character some prominent humor, exaggerates it, as the cartoonist enlarges the most characteristic feature of a face, and so holds it before our attention that all other qualities are lost sight of; which is the method that Dickens used later in many of his novels. Every Man in His Humour was the first of three satires. Its special aim was to ridicule the humors of the city. The second, Cynthia's Revels³⁹³, satirizes³⁹⁴ the humors of the court; while the third, The Poetaster, the result of a quarrel with his contemporaries, was leveled at the false standards of the poets of the age.

The three best known of Jonson's comedies are Volpone, or the Fox, The Alchemist, and Epicoene, or the Silent Woman. Volpone is a keen and merciless analysis of a man governed by an overwhelming love of money for its own sake. The first words in the first scene are a key to the whole comedy:

    (Volpone)
            Good morning to the day; and next, my gold!
            Open the shrine³⁹⁵ that I may see my saint.
                    (Mosca withdraws a curtain and discovers piles of
                      gold, plate, jewels, etc.)
            Hail the world's soul, and mine!

Volpone's method of increasing his wealth is to play upon the avarice³⁹⁶ of men. He pretends to be at the point of death, and his "suitors," who know his love of gain and that he has no heirs, endeavor hypocritically to sweeten his last moments by giving him rich presents, so that he will leave them all his wealth. The intrigues of these suitors furnish the story of the play, and show to what infamous³⁹⁷ depths avarice will lead a man.

The Alchemist is a study of quackery³⁹⁸ on one side and of gullibility³⁹⁹ on the other, founded on the medi?val idea of the philosopher's stone,[155] and applies as well to the patent medicines and get-rich-quick schemes of our day as to the peculiar⁴⁰⁰ forms of quackery with which Jonson was more familiar. In plot and artistic construction The Alchemist is an almost perfect specimen⁴⁰¹ of the best English drama. It has some remarkably⁴⁰² good passages, and is the most readable of Jonson's plays.

Epicoene, or the Silent Woman, is a prose comedy exceedingly well constructed, full of life, abounding⁴⁰³ in fun and unexpected situations. Here is a brief outline from which the reader may see of what materials Jonson made up his comedies.

The Silent Woman The chief character is Morose⁴⁰⁴, a rich old codger whose humor is a horror of noise. He lives in a street so narrow that it will admit no carriages; he pads the doors; plugs the keyhole; puts mattresses⁴⁰⁵ on the stairs. He dismisses a servant who wears squeaky boots; makes all the rest go about in thick stockings; and they must answer him by signs, since he cannot bear to hear anybody but himself talk. He disinherits his poor nephew Eugenie, and, to make sure that the latter will not get any money out of him, resolves to marry. His confidant in this delicate matter is Cutbeard the barber, who, unlike his kind, never speaks unless spoken to, and does not even knick his scissors as he works. Cutbeard (who is secretly in league with the nephew) tells him of Epicoene, a rare, silent woman, and Morose is so delighted with her silence that he resolves to marry her on the spot. Cutbeard produces a parson with a bad cold, who can speak only in a whisper, to marry them; and when the parson coughs after the ceremony Morose demands back five shillings of the fee. To save it the parson coughs more, and is hurriedly bundled out of the house. The silent woman finds her voice immediately after the marriage, begins to talk loudly and to make reforms in the household, driving Morose to distraction⁴⁰⁶. A noisy dinner party from a neighboring house, with drums and trumpets⁴⁰⁷ and a quarreling man and wife, is skillfully guided in at this moment to celebrate the wedding. Morose flees for his life, and is found perched like a monkey on a crossbeam in the attic⁴⁰⁸, with all his nightcaps tied over his ears. He seeks a divorce, but is driven frantic⁴⁰⁹ by the loud arguments of a lawyer and a divine, who are no other than Cutbeard and a sea captain disguised. When Morose is past all hope the nephew offers to release him from his wife and her noisy friends if he will allow him five hundred pounds a year. Morose offers him anything, everything, to escape his torment, and signs a deed to that effect. Then comes the surprise of the play when Eugenie whips the wig⁶⁴ from Epicoene and shows a boy in disguise.

It will be seen that the Silent Woman, with its rapid action and its unexpected situations, offers an excellent opportunity for the actors; but the reading of the play, as of most of Jonson's comedies, is marred by low intrigues showing a sad state of morals among the upper classes.

Besides these, and many other less known comedies, Jonson wrote two great tragedies, Sejanus (1603) and Catiline (1611), upon severe classical lines. After ceasing his work for the stage, Jonson wrote many masques in honor of James I and of Queen Anne, to be played amid elaborate scenery by the gentlemen of the court. The best of these are "The Satyr," "The Penates," "Masque of Blackness," "Masque of Beauty," "Hue¹⁶² and Cry after Cupid," and "The Masque of Queens." In all his plays Jonson showed a strong lyric gift, and some of his little poems and songs, like "The Triumph of Charis," "Drink to Me Only with Thine Eyes," and "To the Memory of my Beloved Mother," are now better known than his great dramatic works. A single volume of prose, called Timber, or Discoveries made upon Men and Matter, is an interesting collection of short essays which are more like Bacon's than any other work of the age.

Beaumont and Fletcher. The work of these two men is so closely interwoven that, though Fletcher outlived Beaumont by nine years and the latter had no hand in some forty of the plays that bear their joint⁴¹⁰ names, we still class them together, and only scholars attempt to separate their works so as to give each writer his due share. Unlike most of the Elizabethan dramatists, they both came from noble and cultured families and were university trained. Their work, in strong contrast with Jonson's, is intensely romantic, and in it all, however coarse or brutal⁵⁹ the scene, there is still, as Emerson pointed⁷⁵ out, the subtle "recognition of gentility."

Beaumont (1584-1616) was the brother of Sir John Beaumont of Leicestershire. From Oxford⁴¹¹ he came to London to study law, but soon gave it up to write for the stage. Fletcher (1579-1625) was the son of the bishop of London, and shows in all his work the influence of his high social position and of his Cambridge education. The two dramatists met at the Mermaid⁴¹² tavern under Ben Jonson's leadership and soon became inseparable friends, living and working together. Tradition has it that Beaumont supplied the judgment and the solid work of the play, while Fletcher furnished the high-colored sentiment and the lyric poetry, without which an Elizabethan play would have been incomplete. Of their joint plays, the two best known are Philaster, whose old theme, like that of Cymbeline and Griselda, is the jealousy⁴¹³ of a lover and the faithfulness of a girl, and The Maid's Tragedy. Concerning Fletcher's work the most interesting literary question is how much did he write of Shakespeare's Henry VIII, and how much did Shakespeare help him in The Two Noble Kinsmen.

John Webster. Of Webster's personal history we know nothing except that he was well known as a dramatist under James I. His extraordinary powers of expression rank him with Shakespeare; but his talent seems to have been largely devoted⁴¹⁴ to the blood-and-thunder play begun by Marlowe. His two best known plays are The White Devil (pub. 1612) and The Duchess of Malfi (pub. 1623). The latter, spite of its horrors, ranks him as one of the greatest masters of English tragedy. It must be remembered that he sought in this play to reproduce the Italian life of the sixteenth century, and for this no imaginary horrors are needed. The history of any Italian court or city in this period furnishes more vice and violence and dishonor than even the gloomy imagination of Webster could conceive. All the so-called blood tragedies of the Elizabethan period, from Thomas Kyd's Spanish Tragedy down, however much they may condemn⁴¹⁵ the brutal taste of the English audiences, are still only so many search lights thrown upon a history of horrible darkness.

Thomas Middleton (1570?-1627). Middleton is best known by two great plays, The Changeling[156] and Women Beware Women. In poetry and diction they are almost worthy at times to rank with Shakespeare's plays; otherwise, in their sensationalism and unnaturalness⁴¹⁶ they do violence to the moral sense and are repulsive⁴¹⁷ to the modern reader. Two earlier plays, A Trick to catch the Old One, his best comedy, and A Fair Quarrel, his earliest tragedy, are less mature in thought and expression, but more readable, because they seem to express Middleton's own idea of the drama rather than that of the corrupt court and playwrights of his later age.

Thomas Heywood (1580?-1650?). Heywood's life, of which we know little in detail, covers the whole period of the Elizabethan drama. To the glory of that drama he contributed, according to his own statement, the greater part, at least, of nearly two hundred and twenty plays. It was an enormous amount of work; but he seems to have been animated⁴¹⁸ by the modern literary spirit of following the best market and striking while the financial iron is hot. Naturally good work was impossible, even to genius, under such circumstances, and few of his plays are now known. The two best, if the reader would obtain his own idea of Heywood's undoubted ability, are A Woman killed with Kindness, a pathetic story of domestic life, and The Fair Maid of the West, a melodrama with plenty of fighting of the popular kind.

Thomas Dekker (1570-?). Dekker is in pleasing contrast with most of the dramatists of the time. All we know of him must be inferred from his works, which show a happy and sunny nature, pleasant and good to meet. The reader will find the best expression of Dekker's personality and erratic⁴¹⁹ genius in The Shoemakers' Holiday, a humorous study of plain working people, and Old Fortunatus, a fairy drama of the wishing hat and no end of money. Whether intended for children or not, it had the effect of charming the elders far more than the young people, and the play became immensely popular.

Massinger, Ford, Shirley. These three men mark the end of the Elizabethan drama. Their work, done largely while the struggle was on between the actors and the corrupt court, on one side, and the Puritans on the other, shows a deliberate turning away not only from Puritan standards but from the high ideals of their own art to pander⁴²⁰ to the corrupt taste of the upper classes.

Philip Massinger (1584-1640) was a dramatic poet of great natural ability; but his plots and situations are usually so strained and artificial that the modern reader finds no interest in them. In his best comedy, A New Way to Pay Old Debts, he achieved great popularity and gave us one figure, Sir Giles Overreach, which is one of the typical characters of the English stage. His best plays are The Great Duke of Florence, The Virgin Martyr²⁰¹, and The Maid of Honour.

John Ford (1586-1642?) and James Shirley (1596-1666) have left us little of permanent literary value, and their works are read only by those who wish to understand the whole rise and fall of the drama. An occasional scene in Ford's plays is as strong as anything that the Elizabethan Age produced; but as a whole the plays are unnatural and tiresome⁴²¹. Probably his best play is The Broken Heart (1633). Shirley was given to imitation of his predecessors, and his very imitation is characteristic of an age which had lost its inspiration. A single play, Hyde Park, with its frivolous, realistic dialogue, is sometimes read for its reflection of the fashionable gossipy talk of the day. Long before Shirley's death the actors said, "Farewell! Othello's occupation's gone." Parliament voted to close the theaters, thereby⁴²² saving the drama from a more inglorious death by dissipation.[157]

VI. THE PROSE WRITERS

Francis Bacon (1561-1626)

In Bacon we see one of those complex and contradictory⁴²³ natures which are the despair of the biographer. If the writer be an admirer of Bacon, he finds too much that he must excuse or pass over in silence; and if he takes his stand on the law to condemn the avarice and dishonesty of his subject, he finds enough moral courage and nobility to make him question the justice of his own judgment. On the one hand is rugged⁴²⁴ Ben Jonson's tribute to his power and ability, and on the other Hallam's summary that he was "a man who, being intrusted with the highest gifts of Heaven, habitually abused them for the poorest purposes of earth--hired them out for guineas, places, and titles in the service of injustice⁴²⁵, covetousness⁴²⁶, and oppression."

Laying aside the opinions of others, and relying only upon the facts of Bacon's life, we find on the one side the politician, cold, calculating, selfish, and on the other the literary and scientific man with an impressive devotion to truth for its own great sake; here a man using questionable means to advance his own interests, and there a man seeking with zeal⁴²⁷ and endless labor to penetrate⁴²⁸ the secret ways of Nature, with no other object than to advance the interests of his fellow-men. So, in our ignorance of the secret motives⁴²⁹ and springs of the man's life, judgment is necessarily suspended. Bacon was apparently one of those double natures that only God is competent to judge, because of the strange mixture of intellectual strength and moral weakness that is in them.

Life. Bacon was the son of Sir Nicholas Bacon, Lord Keeper of the Seal, and of the learned Ann Cook, sister-in-law to Lord Burleigh, greatest of the queen's statesmen. From these connections, as well as from native gifts, he was attracted to the court, and as a child was called by Elizabeth her "Little Lord Keeper." At twelve he went to Cambridge, but left the university after two years, declaring the whole plan of education to be radically wrong, and the system of Aristotle, which was the basis of all philosophy in those days, to be a childish delusion⁴³⁰, since in the course of centuries it had "produced no fruit, but only a jungle of dry and useless branches." Strange, even for a sophomore⁴³¹ of fourteen, thus to condemn the whole system of the universities; but such was the boy, and the system! Next year, in order to continue his education, he accompanied the English ambassador to France, where he is said to have busied himself chiefly with the practical studies of statistics and diplomacy⁴³².

Two years later he was recalled to London by the death of his father. Without money, and naturally with expensive tastes, he applied to his Uncle Burleigh for a lucrative⁴³³ position. It was in this application that he used the expression, so characteristic of the Elizabethan Age, that he "had taken all knowledge for his province." Burleigh, who misjudged him as a dreamer and self-seeker, not only refused to help him at the court but successfully opposed his advancement⁴³⁴ by Elizabeth. Bacon then took up the study of law, and was admitted to the bar in 1582. That he had not lost his philosophy in the mazes⁴³⁵ of the law is shown by his tract, written about this time, "On the Greatest Birth of Time," which was a plea for his inductive system of philosophy, reasoning from many facts to one law, rather than from an assumed law to particular facts, which was the deductive method that had been in use for centuries. In his famous plea for progress Bacon demanded three things: the free investigation⁴³⁶ of nature, the discovery of facts instead of theories, and the verification of results by experiment rather than by argument. In our day these are the A, B, C of science, but in Bacon's time they seemed revolutionary.

As a lawyer he became immediately successful; his knowledge and power of pleading became widely known, and it was almost at the beginning of his career that Jonson wrote, "The fear of every one that heard him speak was that he should make an end." The publication of his Essays added greatly to his fame; but Bacon was not content. His head was buzzing with huge schemes,--the pacification⁴³⁷ of unhappy Ireland, the simplification of English law, the reform of the church, the study of nature, the establishment of a new philosophy. Meanwhile, sad to say, he played the game of politics for his personal advantage. He devoted himself to Essex, the young and dangerous favorite of the queen, won his friendship, and then used him skillfully to better his own position. When the earl was tried for treason it was partly, at least, through Bacon's efforts that he was convicted and beheaded; and though Bacon claims to have been actuated by a high sense of justice, we are not convinced that he understood either justice or friendship in appearing as queen's counsel against the man who had befriended him. His coldbloodedness and lack of moral sensitiveness appear even in his essays on "Love" and "Friendship." Indeed, we can understand his life only upon the theory that his intellectuality left him cold and dead to the higher sentiments of our humanity.

During Elizabeth's reign Bacon had sought repeatedly for high office, but had been blocked by Burleigh and perhaps also by the queen's own shrewdness in judging men. With the advent³⁰ of James I (1603) Bacon devoted himself to the new ruler and rose rapidly in favor. He was knighted, and soon afterwards attained⁴³⁸ another object of his ambition in marrying a rich wife. The appearance of his great work, the Advancement of Learning, in 1605, was largely the result of the mental stimulus produced by his change in fortune. In 1613 he was made attorney-general, and speedily made enemies by using the office to increase his personal ends. He justified⁴³⁹ himself in his course by his devotion to the king's cause, and by the belief that the higher his position and the more ample his means the more he could do for science. It was in this year that Bacon wrote his series of State Papers, which show a marvelous grasp of the political tendencies of his age. Had his advice been followed, it would have certainly averted⁴⁴⁰ the struggle between king and parliament that followed speedily. In 1617 he was appointed to his father's office, Lord Keeper of the Seal, and the next year to the high office of Lord Chancellor⁴⁴¹. With this office he received the title of Baron¹⁶⁹ Verulam, and later of Viscount St. Alban, which he affixed⁴⁴² with some vanity to his literary work. Two years later appeared his greatest work, the Novum Organum, called after Aristotle's famous Organon.

Bacon did not long enjoy his political honors. The storm which had been long gathering⁴⁴³ against James's government broke suddenly upon Bacon's head. When Parliament assembled in 1621 it vented⁹⁹ its distrust of James and his favorite Villiers by striking unexpectedly at their chief adviser⁴⁴⁴. Bacon was sternly accused of accepting bribes⁴⁴⁵, and the evidence was so great that he confessed that there was much political corruption⁴⁴⁶ abroad in the land, that he was personally guilty of some of it, and he threw himself upon the mercy of his judges. Parliament at that time was in no mood for mercy. Bacon was deprived of his office and was sentenced to pay the enormous fine of 40,000 pounds, to be imprisoned⁴⁴⁷ during the king's pleasure, and thereafter to be banished forever from Parliament and court. Though the imprisonment⁴⁴⁸ lasted only a few days and the fine was largely remitted⁴⁴⁹, Bacon's hopes and schemes for political honors were ended; and it is at this point of appalling⁴⁵⁰ adversity that the nobility in the man's nature asserts itself strongly. If the reader be interested to apply a great man's philosophy to his own life, he will find the essay, "Of Great Place," most interesting in this connection.

Bacon now withdrew permanently from public life, and devoted his splendid ability to literary and scientific work. He completed the Essays, experimented largely, wrote history, scientific articles, and one scientific novel, and made additions to his Instauratio Magna, the great philosophical⁴⁵² work which was never finished. In the spring of 1626, while driving in a snowstorm, it occurred to him that snow might be used as a preservative⁴⁵³ instead of salt. True to his own method of arriving at truth, he stopped at the first house, bought a fowl⁴⁵⁴, and proceeded to test his theory. The experiment chilled him, and he died soon after from the effects of his exposure. As Macaulay wrote, "the great apostle of experimental philosophy was destined⁴⁵⁵ to be its martyr."

Works of Bacon. Bacon's philosophic⁴⁵¹ works, The Advancement of Learning and the Novum Organum, will be best understood in connection with the Instauratio Magna, or The Great Institution of True Philosophy, of which they were parts. The Instauratio was never completed, but the very idea of the work was magnificent,--to sweep away the involved philosophy of the schoolmen and the educational systems of the universities, and to substitute a single great work which should be a complete education, "a rich storehouse for the glory of the Creator and for the relief of man's estate." The object of this education was to bring practical results to all the people, instead of a little selfish culture and much useless speculation⁴⁵⁶, which, he conceived, were the only products of the universities.

The Instauratio Magna. This was the most ambitious, though it is not the best known, of Bacon's works. For the insight it gives us into the author's mind, we note here a brief outline of his subject. It was divided into six parts, as follows:

1. Partitiones Scientiarum. This was to be a classification and summary of all human knowledge. Philosophy and all speculation must be cast out and the natural sciences established as the basis of all education. The only part completed was The Advancement of Learning, which served as an introduction.

2. Novum Organum, or the "new instrument," that is, the use of reason and experiment instead of the old Aristotelian logic³⁹¹. To find truth one must do two things: (a) get rid of all prejudices or idols⁴⁵⁷, as Bacon called them. These "idols" are four: "idols of the tribe," that is, prejudices due to common methods of thought among all races; "idols of the cave or den," that is, personal peculiarities⁴⁵⁸ and prejudices; "idols of the market place," due to errors of language; and "idols of the theater," which are the unreliable traditions of men. (b) After discarding the above "idols" we must interrogate⁴⁵⁹ nature; must collect facts by means of numerous experiments, arrange them in order, and then determine the law that underlies⁴⁶⁰ them.

It will be seen at a glance that the above is the most important of Bacon's works. The Organum was to be in several books, only two of which he completed, and these he wrote and rewrote twelve times until they satisfied him.

3. Historic Naturalis et Experimentalis, the study of all the phenomena⁴⁶¹ of nature. Of four parts of this work which he completed, one of them at least, the Sylva Sylvarum, is decidedly at variance⁴⁶² with his own idea of fact and experiment. It abounds⁴⁶³ in fanciful explanations, more worthy of the poetic than of the scientific mind. Nature is seen to be full of desires and instincts; the air "thirsts" for light and fragrance⁴⁶⁴; bodies rise or sink because they have an "appetite" for height or depth; the qualities of bodies are the result of an "essence," so that when we discover the essences of gold and silver and diamonds it will be a simple matter to create as much of them as we may need.

4. Scala Intellectus, or "Ladder of the Mind," is the rational application of the Organum to all problems. By it the mind should ascend⁴⁶⁵ step by step from particular facts and instances to general laws and abstract principles.

5. Prodromi, "Prophecies or Anticipations," is a list of discoveries that men shall make when they have applied Bacon's methods of study and experimentation.

6. Philosophia Secunda, which was to be a record of practical results of the new philosophy when the succeeding ages should have applied it faithfully.

It is impossible to regard even the outline of such a vast work without an involuntary thrill of admiration⁴⁶⁶ for the bold and original mind which conceived it. "We may," said Bacon, "make no despicable beginnings. The destinies of the human race must complete the work ... for upon this will depend not only a speculative⁴⁶⁷ good but all the fortunes of mankind and all their power." There is the unconscious expression of one of the great minds of the world. Bacon was like one of the architects of the Middle Ages, who drew his plans for a mighty cathedral, perfect in every detail from the deep foundation stone to the cross on the highest spire¹⁰, and who gave over his plans to the builders, knowing that, in his own lifetime, only one tiny chapel would be completed; but knowing also that the very beauty of his plans would appeal to others, and that succeeding ages would finish the work which he dared to begin.

The Essays. Bacon's famous Essays is the one work which will interest all students of our literature. His Instauratio was in Latin, written mostly by paid helpers from short English abstracts. He regarded Latin as the only language worthy of a great work; but the world neglected his Latin to seize upon his English,--marvelous English, terse⁴⁶⁸, pithy⁴⁶⁹, packed with thought, in an age that used endless circumlocutions. The first ten essays, published in 1597, were brief notebook jottings of Bacon's observations. Their success astonished the author, but not till fifteen years later were they republished and enlarged. Their charm grew upon Bacon himself, and during his retirement he gave more thought to the wonderful language which he had at first despised as much as Aristotle's philosophy. In 1612 appeared a second edition containing thirty-eight essays, and in 1625, the year before his death, he republished the Essays in their present form, polishing and enlarging the original ten to fifty-eight, covering a wide variety of subjects suggested by the life of men around him.

Concerning the best of these essays there are as many opinions as there are readers, and what one gets out of them depends largely upon his own thought and intelligence. In this respect they are like that Nature to which Bacon directed men's thoughts. The whole volume may be read through in an evening; but after one has read them a dozen times he still finds as many places to pause and reflect as at the first reading. If one must choose out of such a storehouse, we would suggest "Studies," "Goodness," "Riches," "Atheism," "Unity in Religion," "Adversity," "Friendship," and "Great Place" as an introduction to Bacon's worldly-wise philosophy.

Miscellaneous Works. Other works of Bacon are interesting as a revelation of the Elizabethan mind, rather than because of any literary value. The New Atlantis is a kind of scientific novel describing another Utopia as seen by Bacon. The inhabitants of Atlantis have banished Philosophy and applied Bacon's method of investigating Nature, using the results to better their own condition. They have a wonderful civilization, in which many of our later discoveries--academies of the sciences, observatories⁴⁷⁰, balloons, submarines, the modification⁴⁷¹ of species, and several others--were foreshadowed with a strange mixture of cold reason and poetic intuition. De Sapientia Veterum is a fanciful attempt to show the deep meaning underlying⁴⁷² ancient myths,--a meaning which would have astonished the myth makers³²¹ themselves. The History of Henry VII is a calm, dispassionate, and remarkably accurate history, which makes us regret that Bacon did not do more historical work. Besides these are metrical versions of certain Psalms--which are valuable, in view of the controversy⁴⁷³ anent Shakespeare's plays, for showing Bacon's utter inability to write poetry--and a large number of letters and state papers showing the range and power of his intellect.

Bacon's Place and Work. Although Bacon was for the greater part of his life a busy man of affairs, one cannot read his work without becoming conscious of two things,--a perennial⁴⁷⁴ freshness, which the world insists upon in all literature that is to endure, and an intellectual power which marks him as one of the great minds of the world.

Of late the general tendency is to give less and less prominence to his work in science and philosophy; but criticism of his Instauratio, in view of his lofty aim, is of small consequence. It is true that his "science" to-day seems woefully inadequate⁴⁷⁵; true also that, though he sought to discover truth, he thought perhaps to monopolize⁴⁷⁶ it, and so looked with the same suspicion upon Copernicus as upon the philosophers. The practical man who despises philosophy has simply misunderstood the thing he despises. In being practical and experimental in a romantic age he was not unique, as is often alleged, but only expressed the tendency of the English mind in all ages. Three centuries earlier the monk Roger Bacon did more practical experimenting than the Elizabethan sage¹³⁶; and the latter's famous "idols" are strongly suggestive of the former's "Four Sources of Human Ignorance." Although Bacon did not make any of the scientific discoveries at which he aimed, yet the whole spirit of his work, especially of the Organum, has strongly influenced science in the direction of accurate observation and of carefully testing every theory by practical experiment. "He that regardeth the clouds shall not sow," said a wise writer of old; and Bacon turned men's thoughts from the heavens above, with which they had been too busy, to the earth beneath, which they had too much neglected. In an age when men were busy with romance and philosophy, he insisted that the first object of education is to make a man familiar with his natural environment; from books he turned to men, from theory to fact, from philosophy to nature,--and that is perhaps his greatest contribution to life and literature. Like Moses upon Pisgah, he stood high enough above his fellows to look out over a promised land, which his people would inherit, but into which he himself might never enter.

Richard Hooker (1554?-1600) In strong contrast with Bacon is Richard Hooker, one of the greatest prose writers of the Elizabethan Age. One must read the story of his life, an obscure and lowly life animated by a great spirit, as told by Izaak Walton, to appreciate the full force of this contrast. Bacon took all knowledge for his province, but mastered no single part of it. Hooker, taking a single theme, the law and practice of the English Church, so handled it that no scholar even of the present day would dream of superseding⁴⁷⁷ it or of building upon any other foundation than that which Hooker laid down. His one great work is The Laws of Ecclesiastical Polity,[158] a theological and argumentative book; but, entirely apart from its subject, it will be read wherever men desire to hear the power and stateliness of the English language. Here is a single sentence, remarkable not only for its perfect form but also for its expression of the reverence⁴⁷⁸ for law which lies at the heart of Anglo-Saxon civilization:

Of law there can be no less acknowledged than that her seat is the bosom⁴⁷⁹ of God, her voice the harmony of the world; all things in heaven and earth do her homage⁴⁸⁰; the very least as feeling her care, and the greatest as not exempted⁴⁸¹ from her power; both angels and men, and creatures of what condition soever, though each in different sort and manner, yet all with uniform consent admiring her as the mother of their peace and joy.

Sidney and Raleigh. Among the prose writers of this wonderful literary age there are many others that deserve passing notice, though they fall far below the standard of Bacon and Hooker. Sir Philip Sidney (1554-1586), who has already been considered as a poet, is quite as well known by his prose works, Arcadia, a pastoral romance, and the Defense of Poesie, one of our earliest literary essays. Sidney, whom the poet Shelley has eulogized, represents the whole romantic tendency of his age; while Sir Walter Raleigh (1552?-1618) represents its adventurous⁴⁸² spirit and activity. The life of Raleigh is an almost incomprehensible mixture of the poet, scholar, and adventurer; now helping⁴⁸³ the Huguenots or the struggling Dutch in Europe, and now leading an expedition into the unmapped wilds of the New World; busy here with court intrigues, and there with piratical attempts to capture the gold-laden Spanish galleons⁴⁸⁴; one moment sailing the high seas in utter freedom, and the next writing history and poetry to solace⁴⁸⁵ his imprisonment. Such a life in itself is a volume far more interesting than anything that he wrote. He is the restless spirit of the Elizabethan Age personified.

Raleigh's chief prose works are the Discoverie of Guiana, a work which would certainly have been interesting enough had he told simply what he saw, but which was filled with colonization⁴⁸⁶ schemes and visions of an El Dorado to fill the eyes and ears of the credulous⁴⁸⁷; and the History of the World, written to occupy his prison hours. The history is a wholly untrustworthy account of events from creation to the downfall of the Macedonian Empire. It is interesting chiefly for its style, which is simple and dignified, and for the flashes of wit and poetry that break into the fantastic combination of miracles, traditions, hearsay⁴⁸⁸, and state records which he called history. In the conclusion is the famous apostrophe to Death, which suggests what Raleigh might have done had he lived less strenuously⁴⁸⁹ and written more carefully.

O eloquent⁴⁹⁰, just, and mighty Death! whom none could advise thou hast persuaded; what none hath dared thou hast done; and whom all the world hath flattered thou only hast cast out of the world and despised; thou hast drawn together all the star-stretched greatness, all the pride, cruelty, and ambition of man, and covered it all over with these two narrow words, Hic jacet!

John Foxe (1516-1587). Foxe will be remembered always for his famous Book of Martyrs⁴⁹¹, a book that our elders gave to us on Sundays when we were young, thinking it good discipline for us to afflict²⁸⁶ our souls when we wanted to be roaming the sunlit fields, or when in our enforced idleness we would, if our own taste in the matter had been consulted, have made good shift to be quiet and happy with Robinson Crusoe. So we have a gloomy memory of Foxe, and something of a grievance⁴⁹², which prevent a just appreciation⁴⁹³ of his worth.

Foxe had been driven out of England by the Marian persecutions, and in a wandering but diligent⁴⁹⁴ life on the Continent he conceived the idea of writing a history of the persecutions of the church from the earliest days to his own. The part relating to England and Scotland was published, in Latin, in 1559 under a title as sonorous⁴⁹⁵ and impressive as the Roman office for the dead,--Rerum in Ecclesia Gestarum Maximarumque per Europam Persecutionum Commentarii. On his return to England Foxe translated this work, calling it the Acts and Monuments; but it soon became known as the Book of Martyrs, and so it will always be called. Foxe's own bitter experience causes him to write with more heat and indignation than his saintly theme would warrant, and the "holy tone" sometimes spoils a narrative that would be impressive in its bare simplicity. Nevertheless the book has made for itself a secure place in our literature. It is strongest in its record of humble⁴⁹⁶ men, like Rowland Taylor and Thomas Hawkes, whose sublime⁴⁹⁷ heroism⁴⁹⁸, but for this narrative, would have been lost amid the great names and the great events that fill the Elizabethan Age.

Camden and Knox. Two historians, William Camden and John Knox, stand out prominently among the numerous historical writers of the age. Camden's Britannia (1586) is a monumental work, which marks the beginning of true antiquarian research in the field of history; and his Annals of Queen Elizabeth is worthy of a far higher place than has thus far been given it. John Knox, the reformer, in his History of the Reformation in Scotland, has some very vivid portraits of his helpers and enemies. The personal and aggressive elements enter too strongly for a work of history; but the autobiographical parts show rare literary power. His account of his famous interview with Mary Queen of Scots is clear-cut as a cameo, and shows the man's extraordinary power better than a whole volume of biography. Such scenes make one wish that more of his time had been given to literary work, rather than to the disputes and troubles of his own Scotch kirk.

Hakluyt and Purchas. Two editors of this age have made for themselves an enviable place in our literature. They are Richard Hakluyt (1552?-1616) and Samuel Purchas (1575?-1626). Hakluyt was a clergyman who in the midst of his little parish set himself to achieve two great patriotic ends,--to promote the wealth and commerce of his country, and to preserve the memory of all his countrymen who added to the glory of the realm by their travels and explorations. To further the first object he concerned himself deeply with the commercial interests of the East India Company, with Raleigh's colonizing⁴⁹⁹ plans in Virginia, and with a translation of De Soto's travels in America. To further the second he made himself familiar with books of voyages in all foreign languages and with the brief reports of explorations of his own countrymen. His Principal Navigations, Voyages, and Discoveries of the English Nation, in three volumes, appeared first in 1589, and a second edition followed in 1598-1600. The first volume tells of voyages to the north; the second to India and the East; the third, which is as large as the other two, to the New World. With the exception of the very first voyage, that of King Arthur to Iceland in 517, which is founded on a myth, all the voyages are authentic accounts of the explorers themselves, and are immensely interesting reading even at the present day. No other book of travels has so well expressed the spirit and energy of the English race, or better deserves a place in our literature.

Samuel Purchas, who was also a clergyman, continued the work of Hakluyt, using many of the latter's unpublished manuscripts and condensing the records of numerous other voyages. His first famous book, Purchas, His Pilgrimage, appeared in 1613, and was followed by Hakluytus Posthumus, or Purchas His Pilgrimes, in 1625. The very name inclines one to open the book with pleasure, and when one follows his inclination--which is, after all, one of the best guides in literature--he is rarely disappointed. Though it falls far below the standard of Hakluyt, both in accuracy and literary finish, there is still plenty to make one glad that the book was written and that he can now comfortably follow Purchas on his pilgrimage.

Thomas North. Among the translators of the Elizabethan Age Sir Thomas North (1535?-1601?) is most deserving of notice because of his version of Plutarch's Lives (1579) from which Shakespeare took the characters and many of the incidents for three great Roman plays. Thus in North we read:

C?sar also had Cassius in great jealousy and suspected him much: whereupon he said on a time to his friends: "What will Cassius do, think ye? I like not his pale looks." Another time when C?sar's friends warned him of Antonius and Dolabella, he answered them again, "I never reckon of them; but these pale-visaged and carrion⁵⁰⁰ lean people, I fear them most," meaning Brutus and Cassius.

Shakespeare merely touches such a scene with the magic of his genius, and his C?sar speaks:

    Let me have men about me that are fat:
    Sleek-headed men, and such as sleep o' nights.
    Yond Cassius has a lean and hungry look:
    He thinks too much: such men are dangerous.

A careful reading of North's Plutarch and then of the famous Roman plays shows to how great an extent Shakespeare was dependent upon his obscure contemporary.

North's translation, to which we owe so many heroic models in our literature, was probably made not from Plutarch but from Amyot's excellent French translation. Nevertheless he reproduces the spirit of the original, and notwithstanding our modern and more accurate translations, he remains⁵⁰¹ the most inspiring interpreter of the great biographer whom Emerson calls "the historian of heroism."

Summary of the Age of Elizabeth. This period is generally regarded as the greatest in the history of our literature. Historically, we note in this age the tremendous impetus⁵⁰² received from the Renaissance, from the Reformation, and from the exploration of the New World. It was marked by a strong national spirit, by patriotism, by religious tolerance, by social content, by intellectual progress, and by unbounded enthusiasm.

Such an age, of thought, feeling, and vigorous action, finds its best expression in the drama; and the wonderful development of the drama, culminating in Shakespeare, is the most significant characteristic of the Elizabethan period. Though the age produced some excellent prose works, it is essentially⁵⁰³ an age of poetry; and the poetry is remarkable for its variety, its freshness, its youthful and romantic feeling. Both the poetry and the drama were permeated⁵⁰⁴ by Italian influence, which was dominant⁵⁰⁵ in English literature from Chaucer to the Restoration. The literature of this age is often called the literature of the Renaissance, though, as we have seen, the Renaissance itself began much earlier, and for a century and a half added very little to our literary possessions.

In our study of this great age we have noted⁵⁰⁶ (1) the Non-dramatic Poets, that is, poets who did not write for the stage. The center of this group is Edmund Spenser, whose Shepherd's Calendar (1579) marked the appearance of the first national poet since Chaucer's death in 1400. His most famous work is The Faery Queen. Associated with Spenser are the minor poets, Thomas Sackville, Michael Drayton, George Chapman, and Philip Sidney. Chapman is noted for his completion of Marlowe's poem, Hero and Leander, and for his translation of Homer's Iliad and Odyssey. Sidney, besides his poetry, wrote his prose romance Arcadia, and The Defense of Poesie, one of our earliest critical essays.

(2) The Rise of the Drama in England; the Miracle plays, Moralities, and Interludes; our first play, "Ralph Royster Doyster"; the first true English comedy, "Gammer Gurton's Needle," and the first tragedy, "Gorboduc"; the conflict between classic and native ideals in the English drama.

(3) Shakespeare's Predecessors, Lyly, Kyd, Nash, Peele, Greene, Marlowe; the types of drama with which they experimented,--the Marlowesque, one-man type, or tragedy of passion, the popular Chronicle plays, the Domestic drama, the Court or Lylian comedy, Romantic comedy and tragedy, Classical plays, and the Melodrama. Marlowe is the greatest of Shakespeare's predecessors. His four plays are "Tamburlaine," "Faustus," "The Jew of Malta," and "Edward II."

(4) Shakespeare, his life, work, and influence.

(5) Shakespeare's Successors, Ben Jonson, Beaumont and Fletcher, Webster, Middleton, Heywood, Dekker; and the rapid decline of the drama. Ben Jonson is the greatest of this group. His chief comedies are "Every Man in His Humour," "The Silent Woman," and "The Alchemist"; his two extant tragedies are "Sejanus" and "Catiline."

(6) The Prose Writers, of whom Bacon is the most notable. His chief philosophical work is the Instauratio Magna (incomplete), which includes "The Advancement of Learning" and the "Novum Organum"; but he is known to literary readers by his famous Essays. Minor prose writers are Richard Hooker, John Foxe, the historians Camden and Knox, the editors Hakluyt and Purchas, who gave us the stirring records of exploration, and Thomas North, the translator of Plutarch's Lives.

Selections for Reading. Spenser. Faery Queen, selections in Standard English Classics; Bk. I, in Riverside Literature Series, etc.; Shepherd's Calendar, in Cassell's National Library; Selected Poems, in Canterbury Poets Series; Minor Poems, in Temple Classics; Selections in Manly⁵⁰⁷'s English Poetry, or Ward³'s English Poets.

Minor Poets. Drayton, Sackville, Sidney, Chapman, Selections in Manly or Ward; Elizabethan songs, in Schelling's Elizabethan Lyrics⁵⁰⁸, and in Palgrave's Golden Treasury⁵⁰⁹; Chapman's Homer, in Temple Classics.

The Early Drama. Play of Noah's Flood, in Manly's Specimens⁵¹⁰ of the Pre-Shaksperean Drama, or in Pollard's English Miracle Plays, Moralities and Interludes, or in Belles⁵¹¹ Lettres Series, sec. 2; L.T. Smith's The York Miracle Plays.

Lyly. Endymion, in Holt's English Readings.

Marlowe. Faustus, in Temple Dramatists, or Mermaid Series, or Morley's Universal Library, or Lamb's Specimens of English Dramatic Poets; Selections in Manly's English Poetry, or Ward's English Poets; Edward II, in Temple Dramatists, and in Holt's English Readings.

Shakespeare. Merchant of Venice, Julius C?sar, Macbeth, etc., in Standard English Classics (edited, with notes, with special reference to college-entrance requirements). Good editions of single plays are numerous and cheap. Hudson's and Rolfe's and the Arden Shakespeare are suggested as satisfactory. The Sonnets, edited by Beeching, in Athen?um Press Series.

Ben Jonson. The Alchemist, in Canterbury Poets Series, or Morley's Universal Library; Selections in Manly's English Poetry, or Ward's English Poets, or Canterbury Poets Series; Selections from Jonson's Masques, in Evans's English Masques; Timber, edited by Schelling, in Athen?um Press Series.

Bacon. Essays, school edition (Ginn and Company); Northup's edition, in Riverside Literature Series (various other inexpensive editions, in the Pitt Press, Golden Treasury Series, etc.); Advancement of Learning, Bk. I, edited by Cook (Ginn and Company). Compare selections from Bacon, Hooker, Lyly, and Sidney, in Manly's English Prose.

Bibliography⁵¹².[159] History. Text-book, Montgomery, pp. 208-238; Cheyney, pp. 330-410; Green, ch. 7; Traill, Macaulay, Froude.

Special works. Creighton's The Age of Elizabeth; Hall's Society in the Elizabethan Age; Winter's Shakespeare's England; Goadby's The England of Shakespeare; Lee's Stratford on Avon; Harrison's Elizabethan England.

Literature. Saintsbury's History of Elizabethan Literature; Whipple's Literature of the Age of Elizabeth; S. Lee's Great Englishmen of the Sixteenth Century; Schilling's Elizabethan Lyrics, in Athen?um Press Series; Vernon Lee's Euphorion.

Spenser. Texts, Cambridge, Globe, and Aldine editions; Noel's Selected Poems of Spenser, in Canterbury Poets; Minor Poems, in Temple Classics; Arber's Spenser Anthology; Church's Life of Spenser, in English Men of Letters Series; Lowell's Essay, in Among My Books, or in Literary Essays, vol. 4; Hazlitt's Chaucer and Spenser, in Lectures on the English Poets; Dowden's Essay, in Transcripts⁵¹³ and Studies.

The Drama. Texts, Manly's Specimens of the Pre-Shakesperean Drama, 2 vols., in Athen?um Press Series; Pollard's English Miracle Plays, Moralities and Interludes; the Temple Dramatists; Morley's Universal Library; Arber's English Reprints; Mermaid Series, etc.; Thayer's The Best Elizabethan Plays.

Gayley's Plays of Our Forefathers⁵¹⁴ (Miracles, Moralities, etc.); Bates's The English Religious Drama; Schelling's The English Chronicle Play; Lowell's Old English Dramatists; Boas's Shakespeare and his Predecessors; Symonds's Shakespeare's Predecessors in the English Drama; Schelling's Elizabethan Drama; Lamb's Specimens of English Dramatic Poets; Introduction to Hudson's Shakespeare: His Life, Art, and Characters; Ward's History of English Dramatic Literature; Dekker's The Gull's Hornbook, in King's Classics.

Marlowe. Works, edited by Bullen; chief plays in Temple Dramatists, Mermaid Series of English Dramatists, Morley's Universal Library, etc.; Lowell's Old English Dramatists; Symonds's introduction, in Mermaid Series; Dowden's Essay, in Transcripts and Studies.

Shakespeare. Good texts are numerous. Furness's Variorum edition is at present most useful for advanced work. Hudson's revised edition, each play in a single volume, with notes and introductions, will, when complete, be one of the very best for students' use.

Raleigh's Shakespeare, in English Men of Letters Series; Lee's Life of Shakespeare; Hudson's Shakespeare: his Life, Art, and Characters; Halliwell-Phillipps's Outlines of the Life of Shakespeare; Fleay's Chronicle History of the Life and Work of Shakespeare; Dowden's Shakespeare, a Critical Study of his Mind and Art; Shakespeare Primer (same author); Baker⁵¹⁵'s The Development of Shakespeare as a Dramatist; Lounsbury's Shakespeare as a Dramatic Artist; The Text of Shakespeare (same author); Wendell's William Shakespeare; Bradley's Shakesperian Tragedy; Hazlitt's Shakespeare and Milton, in Lectures on the English Poets; Emerson's Essay, Shakespeare or the Poet; Lowell's Essay, in Among My Books; Lamb's Tales from Shakespeare; Mrs. Jameson's Shakespeare's Female Characters (called also Characteristics of Women); Rolfe's Shakespeare the Boy; Brandes's William Shakespeare; Moulton's Shakespeare as a Dramatic Artist; Mabie's William Shakespeare, Poet, Dramatist, and Man; The Shakespeare Apocrypha⁵¹⁶, edited by C. F. T. Brooke; Shakespeare's Holinshed, edited by Stone; Shakespeare Lexicon⁵¹⁷, by Schmidt; Concordance, by Bartlett; Grammar, by Abbott, or by Franz.

Ben Jonson. Texts in Mermaid Series, Temple Dramatists, Morley's Universal Library, etc.; Masques and Entertainments of Ben Jonson, edited by Morley, in Carisbrooke Library; Timber, edited by Schelling, in Athen?um Press Series.

Beaumont, Fletcher, etc. Plays in Mermaid Series, Temple Dramatists, etc.; Schelling's Elizabethan Drama; Lowell's Old English Dramatists; Lamb's Specimens of English Dramatic Poets; Fleay's Biographical Chronicle of the English Drama; Swinburne's Essays, in Essays in Prose and Poetry, and in Essays and Studies.

Bacon. Texts, Essays in Everyman's Library, etc.; Advancement of Learning in Clarendon Press Series, Library of English Classics, etc.; Church's Life of Bacon, in English Men of Letters Series; Nichol's Bacon's Life and Philosophy; Francis Bacon, translated from the German of K. Fischer (excellent, but rare); Macaulay's Essay on Bacon.

Minor Prose Writers. Sidney's Arcadia, edited by Somers; Defense of Poesy, edited by Cook, in Athen?um Press Series; Arber's Reprints, etc.; Selections from Sidney's prose and poetry in the Elizabethan Library; Symonds's Life of Sidney, in English Men of Letters; Bourne's Life of Sidney, in Heroes of the Nations; Lamb's Essay on Sidney's Sonnets, in Essays of Elia.

Raleigh's works, published by the Oxford Press; Selections by Grosart, in Elizabethan Library; Raleigh's Last Fight of the Revenge, in Arber's Reprints; Life of Raleigh, by Edwards and by Gosse. Richard Hooker's works, edited by Keble, Oxford Press; Laws of Ecclesiastical Polity, in Everyman's Library, and in Morley's Universal Library; Life, in Walton's Lives, in Morley's Universal Library; Dowden's Essay, in Puritan and Anglican.

Lyly's Euphues, in Arber's Reprints; Endymion, edited by Baker; Campaspe, in Manly's Pre-Shaksperean Drama.

North's Plutarch's Lives, edited by Wyndham, in Tudor Library; school edition, by Ginn and Company. Hakluyt's Voyages, in Everyman's Library; Jones's introduction to Hakluyt's Diverse Voyages; Payne's Voyages of Elizabethan Seamen⁵¹⁸; Froude's Essay, in Short Studies on Great Subjects.

Suggestive Questions. 1. What historical conditions help to account for the great literature of the Elizabethan age? What are the general characteristics of Elizabethan literature? What type of literature prevailed, and why? What work seems to you to express most perfectly the Elizabethan spirit?

2. Tell briefly⁵¹⁹ the story of Spenser's life. What is the story or argument of the Faery Queen? What is meant by the Spenserian stanza? Read and comment upon Spenser's "Epithalamion." Why does the "Shepherd's Calendar" mark a literary epoch? What are the main qualities of Spenser's poetry? Can you quote or refer to any passages which illustrate these qualities? Why is he called the poets' poet?

3. For what is Sackville noted? What is the most significant thing about his "Gorboduc"? Name other minor poets and tell what they wrote.

4. Give an outline of the origin and rise of the drama in England. What is meant by Miracle and Mystery plays? What purposes did they serve among the common people? How did they help the drama? What is meant by cycles of Miracle plays? How did the Moralities differ from the Miracles? What was the chief purpose of the Interludes? What type of drama did they develop? Read a typical play, like "Noah's Flood" or "Everyman," and write a brief analysis of it.

5. What were our first plays in the modern sense? What influence did the classics exert on the English drama? What is meant by the dramatic unities? In what important respect did the English differ from the classic drama?

6. Name some of Shakespeare's predecessors in the drama? What types of drama did they develop? Name some plays of each type. Are any of these plays still presented on the stage?

7. What are Marlowe's chief plays? What is the central motive in each? Why are they called one-man plays? What is meant by Marlowe's "mighty line"? What is the story of "Faustus"? Compare "Faustus" and Goethe's "Faust," having in mind the story, the dramatic interest, and the literary value of each play.

8. Tell briefly the story of Shakespeare's life. What fact in his life most impressed you? How does Shakespeare sum up the work of all his predecessors? What are the four periods of his work, and the chief plays of each? Where did he find his plots? What are his romantic plays? his chronicle or historical plays? What is the difference between a tragedy and a comedy? Name some of Shakespeare's best tragedies, comedies, and historical plays. Which play of Shakespeare's seems to you to give the best picture of human life? Why is he called the myriad-minded Shakespeare? For what reasons is he considered the greatest of writers? Can you explain why Shakespeare's plays are still acted, while other plays of his age are rarely seen? If you have seen any of Shakespeare's plays on the stage, how do they compare in interest with a modern play?

9. What are Ben Jonson's chief plays? In what important respects did they differ from those of Shakespeare? Tell the story of "The Alchemist" or "The Silent Woman." Name other contemporaries and successors of Shakespeare. Give some reasons for the pre?minence of the Elizabethan drama. What causes led to its decline?

10. Tell briefly the story of Bacon's life. What is his chief literary work? his chief educational work? Why is he called a pioneer of modern science? Can you explain what is meant by the inductive method of learning? What subjects are considered in Bacon's Essays? What is the central idea of the essay you like best? What are the literary qualities of these essays? Do they appeal to the intellect or the emotions? What is meant by the word "essay," and how does Bacon illustrate the definition? Make a comparison between Bacon's essays and those of some more recent writer, such as Addison, Lamb, Carlyle, Emerson, or Stevenson, having in mind the subjects, style, and interest of both essayists.

11. Who are the minor prose writers of the Elizabethan Age? What did they write? Comment upon any work of theirs which you have read. What is the literary value of North's Plutarch? What is the chief defect in Elizabethan prose as a whole? What is meant by euphuism? Explain why Elizabethan poetry is superior to the prose.
CHRONOLOGY
Last Half of the Sixteenth and First Half of the Seventeenth Centuries
HISTORY     LITERATURE
1558.     Elizabeth (_d_. 1603)     1559.     John Knox in Edinburgh
        1562(?).     Gammer Gurton's Needle.
            Gorboduc
        1564.     Birth of Shakespeare
1571.     Rise of English Puritans     1576.     First Theater
1577.     Drake's Voyage around the     1579.     Spenser's Shepherd's Calendar.
    World         Lyly's Euphues. North's Plutarch.
        1587.     Shakespeare in London. Marlowe's
            Tamburlaine
1588.     Defeat of the Armada
        1590.     Spenser's Faery Queen. Sidney's
            Arcadia
        1590-1595.     Shakespeare's Early Plays
        1597-1625.     Bacon's Essays
        1598-1614.     Chapman's Homer
        1598.     Ben Jonson's Every Man in His
            Humour
        1600-1607.     Shakespeare's Tragedies
1603.     James I (d. 1625)
1604.     Divine Right of Kings     1605.     Bacon's Advancement of Learning
    proclaimed
1607.     Settlement at Jamestown,     1608.     Birth of Milton
    Virginia
        1611.     Translation (King James Version)
            of Bible
        1614.     Raleigh's History
        1616.     Death of Shakespeare
1620.     Pilgrim Fathers at     1620-1642.     Shakespeare's successors.
    Plymouth         End of drama
        1620.     Bacon's Novum Organum
        1622.     First regular newspaper, The
            Weekly News
1625.     Charles I     1626.     Death of Bacon

1 reign   

n.统治时期，统治，支配，盛行；v.占优势

参考例句：

• The reign of Queen Elizabeth lapped over into the seventeenth century.伊丽莎白王朝延至17世纪。
• The reign of Zhu Yuanzhang lasted about 31 years.朱元璋统治了大约三十一年。

2 reigns   

n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期

参考例句：

• In these valleys night reigns. 夜色笼罩着那些山谷。 来自《现代汉英综合大词典》
• The Queen of Britain reigns, but she does not rule or govern. 英国女王是国家元首，但不治国事。 来自辞典例句

3 ward   

n.守卫，监护，病房，行政区，由监护人或法院保护的人（尤指儿童）；vt.守护，躲开

参考例句：

• The hospital has a medical ward and a surgical ward.这家医院有内科病房和外科病房。
• During the evening picnic,I'll carry a torch to ward off the bugs.傍晚野餐时，我要点根火把，抵挡蚊虫。

4 humiliation   

n.羞辱

参考例句：

• He suffered the humiliation of being forced to ask for his cards.他蒙受了被迫要求辞职的羞辱。
• He will wish to revenge his humiliation in last Season's Final.他会为在上个季度的决赛中所受的耻辱而报复的。

5 puissant   

adj.强有力的

参考例句：

• The young man has a puissant body.这个年轻人有一副强壮的身体。
• Global shipbuilding industry is puissant in conformity burst forth.全球造船业在整合中强力迸发。

6 invincible   

adj.不可征服的，难以制服的

参考例句：

• This football team was once reputed to be invincible.这支足球队曾被誉为无敌的劲旅。
• The workers are invincible as long as they hold together.只要工人团结一致，他们就是不可战胜的。

7 mingling   

adj.混合的

参考例句：

• There was a spring of bitterness mingling with that fountain of sweets. 在这个甜蜜的源泉中间，已经掺和进苦涩的山水了。
• The mingling of inconsequence belongs to us all. 这场矛盾混和物是我们大家所共有的。

8 frivolity   

n.轻松的乐事，兴高采烈；轻浮的举止

参考例句：

• It was just a piece of harmless frivolity. 这仅是无恶意的愚蠢行为。
• Hedonism and frivolity will diffuse hell tnrough all our days. 享乐主义和轻薄浮佻会将地狱扩展到我们的整个日子之中。 来自辞典例句

9 steadily   

adv.稳定地；不变地；持续地

参考例句：

• The scope of man's use of natural resources will steadily grow.人类利用自然资源的广度将日益扩大。
• Our educational reform was steadily led onto the correct path.我们的教学改革慢慢上轨道了。

10 spire   

n.(教堂)尖顶，尖塔，高点

参考例句：

• The church spire was struck by lightning.教堂的尖顶遭到了雷击。
• They could just make out the spire of the church in the distance.他们只能辨认出远处教堂的尖塔。

11 patriotism   

n.爱国精神，爱国心，爱国主义

参考例句：

• His new book is a demonstration of his patriotism.他写的新书是他的爱国精神的证明。
• They obtained money under the false pretenses of patriotism.他们以虚伪的爱国主义为借口获得金钱。

12 exults   

狂喜，欢跃( exult的第三人称单数 )

参考例句：

• Success exactly exults him. 成功确使他高兴。
• Strong man exults in his delighting in such exercises as call his muscles into action. 大力士喜欢炫耀自己的膂力，酷嗜锻炼肌肉之类的运动。

13 dire   

adj.可怕的，悲惨的，阴惨的，极端的

参考例句：

• There were dire warnings about the dangers of watching too much TV.曾经有人就看电视太多的危害性提出严重警告。
• We were indeed in dire straits.But we pulled through.那时我们的困难真是大极了，但是我们渡过了困难。

14 tolerance   

n.宽容；容忍，忍受；耐药力；公差

参考例句：

• Tolerance is one of his strengths.宽容是他的一个优点。
• Human beings have limited tolerance of noise.人类对噪音的忍耐力有限。

15 frightful   

adj.可怕的；讨厌的

参考例句：

• How frightful to have a husband who snores!有一个发鼾声的丈夫多讨厌啊！
• We're having frightful weather these days.这几天天气坏极了。

16 rue   

n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔

参考例句：

• You'll rue having failed in the examination.你会悔恨考试失败。
• You're going to rue this the longest day that you live.你要终身悔恨不尽呢。

17 rebellious   

adj.造反的，反抗的，难控制的

参考例句：

• They will be in danger if they are rebellious.如果他们造反，他们就要发生危险。
• Her reply was mild enough,but her thoughts were rebellious.她的回答虽然很温和，但她的心里十分反感。

18 intrigues   

n.密谋策划( intrigue的名词复数 )；神秘气氛；引人入胜的复杂情节v.搞阴谋诡计( intrigue的第三人称单数 )；激起…的好奇心

参考例句：

• He was made king as a result of various intrigues. 由于搞了各种各样的阴谋，他当上了国王。 来自《简明英汉词典》
• Those who go in for intrigues and conspiracy are doomed to failure. 搞阴谋诡计的人注定要失败。 来自《现代汉英综合大词典》

19 worthy   

adj.(of)值得的，配得上的；有价值的

参考例句：

• I did not esteem him to be worthy of trust.我认为他不值得信赖。
• There occurred nothing that was worthy to be mentioned.没有值得一提的事发生。

20 amazement   

n.惊奇，惊讶

参考例句：

• All those around him looked at him with amazement.周围的人都对他投射出惊异的眼光。
• He looked at me in blank amazement.他带着迷茫惊诧的神情望着我。

21 acting   

n.演戏，行为，假装；adj.代理的，临时的，演出用的

参考例句：

• Ignore her,she's just acting.别理她，她只是假装的。
• During the seventies,her acting career was in eclipse.在七十年代，她的表演生涯黯然失色。

22 counselors   

n.顾问( counselor的名词复数 )；律师；（使馆等的）参赞；（协助学生解决问题的）指导老师

参考例句：

• Counselors began an inquiry into industrial needs. 顾问们开始调查工业方面的需要。 来自《现代英汉综合大词典》
• We have experienced counselors available day and night. ) 这里有经验的法律顾问全天候值班。） 来自超越目标英语 第4册

23 dame   

n.女士

参考例句：

• The dame tell of her experience as a wife and mother.这位年长妇女讲了她作妻子和母亲的经验。
• If you stick around,you'll have to marry that dame.如果再逗留多一会，你就要跟那个夫人结婚。

24 stimulus   

n.刺激，刺激物，促进因素，引起兴奋的事物

参考例句：

• Regard each failure as a stimulus to further efforts.把每次失利看成对进一步努力的激励。
• Light is a stimulus to growth in plants.光是促进植物生长的一个因素。

25 systematic   

adj.有系统的，有计划的，有方法的

参考例句：

• The way he works isn't very systematic.他的工作不是很有条理。
• The teacher made a systematic work of teaching.这个教师进行系统的教学工作。

26 needy   

adj.贫穷的，贫困的，生活艰苦的

参考例句：

• Although he was poor,he was quite generous to his needy friends.他虽穷，但对贫苦的朋友很慷慨。
• They awarded scholarships to needy students.他们给贫苦学生颁发奖学金。

27 hem   

n.贴边，镶边；vt.缝贴边；(in)包围，限制

参考例句：

• The hem on her skirt needs sewing.她裙子上的褶边需要缝一缝。
• The hem of your dress needs to be let down an inch.你衣服的折边有必要放长1英寸。

28 unities   

n.统一体( unity的名词复数 )；（艺术等） 完整；（文学、戏剧） （情节、时间和地点的）统一性；团结一致

参考例句：

• Aristotle's Poetics advocates the "dramatic unities'', the unities of action, place and time. 亚里士多德在《诗学》一书中提倡“戏剧的统一性”，即事件、事件发生的时间和地点的统一。 来自英汉非文学 - 文明史
• All compounds are unities of opposites differing in nature. 化合物都是不同性质的东西的对立统一。 来自互联网

29 labor   

n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦

参考例句：

• We are never late in satisfying him for his labor.我们从不延误付给他劳动报酬。
• He was completely spent after two weeks of hard labor.艰苦劳动两周后，他已经疲惫不堪了。

30 advent   

n.(重要事件等的)到来，来临

参考例句：

• Swallows come by groups at the advent of spring. 春天来临时燕子成群飞来。
• The advent of the Euro will redefine Europe.欧元的出现将重新定义欧洲。

31 fabulous   

adj.极好的；极为巨大的；寓言中的，传说中的

参考例句：

• We had a fabulous time at the party.我们在晚会上玩得很痛快。
• This is a fabulous sum of money.这是一笔巨款。

32 mighty   

adj.强有力的；巨大的

参考例句：

• A mighty force was about to break loose.一股巨大的力量即将迸发而出。
• The mighty iceberg came into view.巨大的冰山出现在眼前。

33 stimulating   

adj.有启发性的，能激发人思考的

参考例句：

• shower gel containing plant extracts that have a stimulating effect on the skin 含有对皮肤有益的植物精华的沐浴凝胶
• This is a drug for stimulating nerves. 这是一种兴奋剂。

34 fettered   

v.给…上脚镣，束缚( fetter的过去式和过去分词 )

参考例句：

• We reverence tradition but will not be fettered by it. 我们尊重传统，但不被传统所束缚。 来自《现代汉英综合大词典》
• Many people are fettered by lack of self-confidence. 许多人都因缺乏自信心而缩手缩脚。 来自《现代汉英综合大词典》

35 rubies   

红宝石( ruby的名词复数 )； 红宝石色，深红色

参考例句：

• a necklace of rubies intertwined with pearls 缠着珍珠的红宝石项链
• The crown was set with precious jewels—diamonds, rubies and emeralds. 王冠上镶嵌着稀世珍宝—有钻石、红宝石、绿宝石。

36 forth   

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。

37 virgin   

n.处女，未婚女子；adj.未经使用的；未经开发的

参考例句：

• Have you ever been to a virgin forest?你去过原始森林吗？
• There are vast expanses of virgin land in the remote regions.在边远地区有大片大片未开垦的土地。

38 prosper   

v.成功，兴隆，昌盛；使成功，使昌隆，繁荣

参考例句：

• With her at the wheel,the company began to prosper.有了她当主管，公司开始兴旺起来。
• It is my earnest wish that this company will continue to prosper.我真诚希望这家公司会继续兴旺发达。

39 instinctively   

adv.本能地

参考例句：

• As he leaned towards her she instinctively recoiled. 他向她靠近，她本能地往后缩。 来自《简明英汉词典》
• He knew instinctively where he would find her. 他本能地知道在哪儿能找到她。 来自《简明英汉词典》

40 piers   

n.水上平台( pier的名词复数 )；（常设有娱乐场所的）突堤；柱子；墙墩

参考例句：

• Most road bridges have piers rising out of the vally. 很多公路桥的桥墩是从河谷里建造起来的。 来自辞典例句
• At these piers coasters and landing-craft would be able to discharge at all states of tide. 沿岸航行的海船和登陆艇，不论潮汐如何涨落，都能在这种码头上卸载。 来自辞典例句

41 muse   

n.缪斯（希腊神话中的女神），创作灵感

参考例句：

• His muse had deserted him,and he could no longer write.他已无灵感，不能再写作了。
• Many of the papers muse on the fate of the President.很多报纸都在揣测总统的命运。

42 grasshopper   

n.蚱蜢，蝗虫，蚂蚱

参考例句：

• He thought he had made an end of the little grasshopper.他以为把那个小蚱蜢干掉了。
• The grasshopper could not find anything to eat.蚱蜢找不到任何吃的东西。

43 wont   

adj.习惯于；v.习惯；n.习惯

参考例句：

• He was wont to say that children are lazy.他常常说小孩子们懒惰。
• It is his wont to get up early.早起是他的习惯。

44 eke   

v.勉强度日，节约使用

参考例句：

• They had to eke out a livinga tiny income.他们不得不靠微薄收入勉强度日。
• We must try to eke out our water supply.我们必须尽量节约用水。

45 glamour   

n.魔力，魅力；vt.迷住

参考例句：

• Foreign travel has lost its glamour for her.到国外旅行对她已失去吸引力了。
• The moonlight cast a glamour over the scene.月光给景色增添了魅力。

46 lust   

n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望

参考例句：

• He was filled with lust for power.他内心充满了对权力的渴望。
• Sensing the explorer's lust for gold, the chief wisely presented gold ornaments as gifts.酋长觉察出探险者们垂涎黄金的欲念，就聪明地把金饰品作为礼物赠送给他们。

47 scant   

adj.不充分的，不足的；v.减缩，限制，忽略

参考例句：

• Don't scant the butter when you make a cake.做糕饼时不要吝惜奶油。
• Many mothers pay scant attention to their own needs when their children are small.孩子们小的时候，许多母亲都忽视自己的需求。

48 chivalry   

n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤

参考例句：

• The Middle Ages were also the great age of chivalry.中世纪也是骑士制度盛行的时代。
• He looked up at them with great chivalry.他非常有礼貌地抬头瞧她们。

49 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

• All at once he fell into a state of profound melancholy.他立即陷入无尽的忧思之中。
• He felt melancholy after he failed the exam.这次考试没通过，他感到很郁闷。

50 vice   

n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的

参考例句：

• He guarded himself against vice.他避免染上坏习惯。
• They are sunk in the depth of vice.他们堕入了罪恶的深渊。

51 bide   

v.忍耐；等候；住

参考例句：

• We'll have to bide our time until the rain stops.我们必须等到雨停。
• Bide here for a while. 请在这儿等一会儿。

52 pensive   

a.沉思的,哀思的,忧沉的

参考例句：

• He looked suddenly sombre,pensive.他突然看起来很阴郁，一副忧虑的样子。
• He became so pensive that she didn't like to break into his thought.他陷入沉思之中,她不想打断他的思路。

53 fret   

v.(使)烦恼；(使)焦急；(使)腐蚀，(使)磨损

参考例句：

• Don't fret.We'll get there on time.别着急，我们能准时到那里。
• She'll fret herself to death one of these days.她总有一天会愁死的.

54 fawn   

n.未满周岁的小鹿；v.巴结，奉承

参考例句：

• A fawn behind the tree looked at us curiously.树后面一只小鹿好奇地看着我们。
• He said you fawn on the manager in order to get a promotion.他说你为了获得提拔，拍经理的马屁。

55 crouch   

v.蹲伏，蜷缩，低头弯腰；n.蹲伏

参考例句：

• I crouched on the ground.我蹲在地上。
• He crouched down beside him.他在他的旁边蹲下来。

56 undone   

a.未做完的，未完成的

参考例句：

• He left nothing undone that needed attention.所有需要注意的事他都注意到了。

57 utterly   

adv.完全地，绝对地

参考例句：

• Utterly devoted to the people,he gave his life in saving his patients.他忠于人民，把毕生精力用于挽救患者的生命。
• I was utterly ravished by the way she smiled.她的微笑使我完全陶醉了。

58 savage   

adj.野蛮的；凶恶的，残暴的；n.未开化的人

参考例句：

• The poor man received a savage beating from the thugs.那可怜的人遭到暴徒的痛打。
• He has a savage temper.他脾气粗暴。

59 brutal   

adj.残忍的，野蛮的，不讲理的

参考例句：

• She has to face the brutal reality.她不得不去面对冷酷的现实。
• They're brutal people behind their civilised veneer.他们表面上温文有礼，骨子里却是野蛮残忍。

60 brutality   

n.野蛮的行为，残忍，野蛮

参考例句：

• The brutality of the crime has appalled the public. 罪行之残暴使公众大为震惊。
• a general who was infamous for his brutality 因残忍而恶名昭彰的将军

61 confiscated   

没收，充公( confiscate的过去式和过去分词 )

参考例句：

• Their land was confiscated after the war. 他们的土地在战后被没收。
• The customs officer confiscated the smuggled goods. 海关官员没收了走私品。

62 rant   

v.咆哮；怒吼；n.大话；粗野的话

参考例句：

• You can rant and rave at the fine,but you'll still have to pay it.你闹也好，骂也好，罚金还是得交。
• If we rant on the net,the world is our audience.如果我们在网络上大声嚷嚷，全世界都是我们的听众。

63 banished   

v.放逐，驱逐( banish的过去式和过去分词 )

参考例句：

• He was banished to Australia, where he died five years later. 他被流放到澳大利亚，五年后在那里去世。
• He was banished to an uninhabited island for a year. 他被放逐到一个无人居住的荒岛一年。 来自《简明英汉词典》

64 wig   

n.假发

参考例句：

• The actress wore a black wig over her blond hair.那个女演员戴一顶黑色假发罩住自己的金黄色头发。
• He disguised himself with a wig and false beard.他用假发和假胡须来乔装。

65 pacifying   

使（某人）安静( pacify的现在分词 )； 息怒； 抚慰； 在（有战争的地区、国家等）实现和平

参考例句：

• The papers put the emphasis on pacifying rather than suppressing the protesters. 他们强调要安抚抗议者而不是动用武力镇压。
• Hawthorn products have the function of pacifying the stomach and spleen, and promoting digestion. 山楂制品，和中消食。

66 cavalry   

n.骑兵；轻装甲部队

参考例句：

• We were taken in flank by a troop of cavalry. 我们翼侧受到一队骑兵的袭击。
• The enemy cavalry rode our men down. 敌人的骑兵撞倒了我们的人。

67 infantry   

n.[总称]步兵(部队)

参考例句：

• The infantry were equipped with flame throwers.步兵都装备有喷火器。
• We have less infantry than the enemy.我们的步兵比敌人少。

68 offense   

n.犯规，违法行为；冒犯，得罪

参考例句：

• I hope you will not take any offense at my words. 对我讲的话请别见怪。
• His words gave great offense to everybody present.他的发言冲犯了在场的所有人。

69 acclaimed   

adj.受人欢迎的

参考例句：

• They acclaimed him as the best writer of the year. 他们称赞他为当年的最佳作者。
• Confuscius is acclaimed as a great thinker. 孔子被赞誉为伟大的思想家。

70 sonnets   

n.十四行诗( sonnet的名词复数 )

参考例句：

• Keats' reputation as a great poet rests largely upon the odes and the later sonnets. 作为一个伟大的诗人，济慈的声誉大部分建立在他写的长诗和后期的十四行诗上。 来自《简明英汉词典》
• He referred to the manuscript circulation of the sonnets. 他谈到了十四行诗手稿的流行情况。 来自辞典例句

71 sonnet   

n.十四行诗

参考例句：

• The composer set a sonnet to music.作曲家为一首十四行诗谱了曲。
• He wrote a sonnet to his beloved.他写了一首十四行诗，献给他心爱的人。

72 hymns   

n.赞美诗，圣歌，颂歌( hymn的名词复数 )

参考例句：

• At first, they played the hymns and marches familiar to them. 起初他们只吹奏自己熟悉的赞美诗和进行曲。 来自英汉非文学 - 百科语料821
• I like singing hymns. 我喜欢唱圣歌。 来自辞典例句

73 hymn   

n.赞美诗，圣歌，颂歌

参考例句：

• They sang a hymn of praise to God.他们唱着圣歌，赞美上帝。
• The choir has sung only two verses of the last hymn.合唱团只唱了最后一首赞美诗的两个段落。

74 elegy   

n.哀歌，挽歌

参考例句：

• Good heavens,what would be more tragic than that elegy!天哪，还有什么比那首挽歌更悲伤的呢！
• His book is not intended to be a complete history but a personal elegy.他的书与其说是一部完整的历史，更像是一篇个人挽歌。

75 pointed   

adj.尖的，直截了当的

参考例句：

• He gave me a very sharp pointed pencil.他给我一支削得非常尖的铅笔。
• She wished to show Mrs.John Dashwood by this pointed invitation to her brother.她想通过对达茨伍德夫人提出直截了当的邀请向她的哥哥表示出来。

76 cork   

n.软木，软木塞

参考例句：

• We heard the pop of a cork.我们听见瓶塞砰的一声打开。
• Cork is a very buoyant material.软木是极易浮起的材料。

77 undoing   

n.毁灭的原因，祸根；破坏，毁灭

参考例句：

• That one mistake was his undoing. 他一失足即成千古恨。
• This hard attitude may have led to his undoing. 可能就是这种强硬的态度导致了他的垮台。

78 poetic   

adj.富有诗意的，有诗人气质的，善于抒情的

参考例句：

• His poetic idiom is stamped with expressions describing group feeling and thought.他的诗中的措辞往往带有描写群体感情和思想的印记。
• His poetic novels have gone through three different historical stages.他的诗情小说创作经历了三个不同的历史阶段。

79 destitution   

n.穷困，缺乏，贫穷

参考例句：

• The people lived in destitution. 民生凋敝。 来自《现代汉英综合大词典》
• His drinking led him to a life of destitution. 酗酒导致他生活贫穷。 来自辞典例句

80 thronging   

v.成群，挤满( throng的现在分词 )

参考例句：

• Architects from around the world are thronging to Beijing theacross the capital. 来自世界各地的建筑师都蜂拥而至这座处处高楼耸立的大都市——北京。 来自互联网
• People are thronging to his new play. 人们成群结队地去看他那出新戏。 来自互联网

81 elegies   

n.哀歌，挽歌( elegy的名词复数 )

参考例句：

82 knight   

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。

83 virtue   

n.德行，美德；贞操；优点；功效，效力

参考例句：

• He was considered to be a paragon of virtue.他被认为是品德尽善尽美的典范。
• You need to decorate your mind with virtue.你应该用德行美化心灵。

84 virtues   

美德( virtue的名词复数 )； 德行； 优点； 长处

参考例句：

• Doctors often extol the virtues of eating less fat. 医生常常宣扬少吃脂肪的好处。
• She delivered a homily on the virtues of family life. 她进行了一场家庭生活美德方面的说教。

85 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

86 radically   

ad.根本地，本质地

参考例句：

• I think we may have to rethink our policies fairly radically. 我认为我们可能要对我们的政策进行根本的反思。
• The health service must be radically reformed. 公共医疗卫生服务必须进行彻底改革。

87 distressed   

痛苦的

参考例句：

• He was too distressed and confused to answer their questions. 他非常苦恼而困惑，无法回答他们的问题。
• The news of his death distressed us greatly. 他逝世的消息使我们极为悲痛。

88 knights   

骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马

参考例句：

• stories of knights and fair maidens 关于骑士和美女的故事
• He wove a fascinating tale of knights in shining armour. 他编了一个穿着明亮盔甲的骑士的迷人故事。

89 symbolical   

a.象征性的

参考例句：

• The power of the monarchy in Britain today is more symbolical than real. 今日英国君主的权力多为象徵性的，无甚实际意义。
• The Lord introduces the first symbolical language in Revelation. 主说明了启示录中第一个象徵的语言。

90 heresy   

n.异端邪说；异教

参考例句：

• We should denounce a heresy.我们应该公开指责异端邪说。
• It might be considered heresy to suggest such a notion.提出这样一个观点可能会被视为异端邪说。

91 elastic   

n.橡皮圈，松紧带；adj.有弹性的；灵活的

参考例句：

• Rubber is an elastic material.橡胶是一种弹性材料。
• These regulations are elastic.这些规定是有弹性的。

92 narrative   

n.叙述，故事；adj.叙事的，故事体的

参考例句：

• He was a writer of great narrative power.他是一位颇有记述能力的作家。
• Neither author was very strong on narrative.两个作者都不是很善于讲故事。

93 chivalrous   

adj.武士精神的；对女人彬彬有礼的

参考例句：

• Men are so little chivalrous now.现在的男人几乎没有什么骑士风度了。
• Toward women he was nobly restrained and chivalrous.对于妇女，他表现得高尚拘谨，尊敬三分。

94 paraphrase   

vt.将…释义，改写；n.释义，意义

参考例句：

• You may read the prose paraphrase of this poem.你可以看一下这首诗的散文释义。
• Paraphrase the following sentences or parts of sentences using your own words.用你自己的话解释下面的句子或句子的一部分。

95 epic   

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。

96 prologue   

n.开场白，序言；开端，序幕

参考例句：

• A poor wedding is a prologue to misery.不幸的婚姻是痛苦的开始。
• The prologue to the novel is written in the form of a newspaper account.这本小说的序言是以报纸报道的形式写的。

97 outrageous   

adj.无理的，令人不能容忍的

参考例句：

• Her outrageous behaviour at the party offended everyone.她在聚会上的无礼行为触怒了每一个人。
• Charges for local telephone calls are particularly outrageous.本地电话资费贵得出奇。

98 poetical   

adj.似诗人的；诗一般的；韵文的；富有诗意的

参考例句：

• This is a poetical picture of the landscape. 这是一幅富有诗意的风景画。 来自《简明英汉词典》
• John is making a periphrastic study in a worn-out poetical fashion. 约翰正在对陈腐的诗风做迂回冗长的研究。 来自辞典例句

99 vented   

表达，发泄（感情，尤指愤怒）( vent的过去式和过去分词 )

参考例句：

• He vented his frustration on his wife. 他受到挫折却把气发泄到妻子身上。
• He vented his anger on his secretary. 他朝秘书发泄怒气。

100 stanza   

n.（诗）节，段

参考例句：

• We omitted to sing the second stanza.我们漏唱了第二节。
• One young reporter wrote a review with a stanza that contained some offensive content.一个年轻的记者就歌词中包含有攻击性内容的一节写了评论。

101 monk   

n.和尚，僧侣，修道士

参考例句：

• The man was a monk from Emei Mountain.那人是峨眉山下来的和尚。
• Buddhist monk sat with folded palms.和尚合掌打坐。

102 pricking   

刺，刺痕，刺痛感

参考例句：

• She felt a pricking on her scalp. 她感到头皮上被扎了一下。
• Intercostal neuralgia causes paroxysmal burning pain or pricking pain. 肋间神经痛呈阵发性的灼痛或刺痛。

103 bloody   

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。

104 wield   

vt.行使，运用，支配；挥，使用(武器等)

参考例句：

• They wield enormous political power.他们行使巨大的政治权力。
• People may wield the power in a democracy.在民主国家里，人民可以行使权力。

105 chide   

v.叱责；谴责

参考例句：

• However,they will chide you if you try to speak French.然而，如果你试图讲法语，就会遭到他们的责骂。
• He thereupon privately chide his wife for her forwardness in the matter.于是他私下责备他的妻子，因为她对这种事热心。

106 knightly   

adj. 骑士般的 adv. 骑士般地

参考例句：

• He composed heroic songs and began to write many a tale of enchantment and knightly adventure. 他谱写英雄短歌并着手编写不少记叙巫术和骑士历险的故事。
• If you wear knight costumes, you will certainly have a knightly manner. 身着骑士装，令您具有骑士风度。

107 dread   

vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧

参考例句：

• We all dread to think what will happen if the company closes.我们都不敢去想一旦公司关门我们该怎么办。
• Her heart was relieved of its blankest dread.她极度恐惧的心理消除了。

108 dwelling   

n.住宅，住所，寓所

参考例句：

• Those two men are dwelling with us.那两个人跟我们住在一起。
• He occupies a three-story dwelling place on the Park Street.他在派克街上有一幢3层楼的寓所。

109 slumber   

n.睡眠，沉睡状态

参考例句：

• All the people in the hotels were wrapped in deep slumber.住在各旅馆里的人都已进入梦乡。
• Don't wake him from his slumber because he needs the rest.不要把他从睡眠中唤醒，因为他需要休息。

110 trickling   

n.油画底色含油太多而成泡沫状突起v.滴( trickle的现在分词 )；淌；使)慢慢走；缓慢移动

参考例句：

• Tears were trickling down her cheeks. 眼泪顺着她的面颊流了下来。
• The engine was trickling oil. 发动机在滴油。 来自《简明英汉词典》

111 loft   

n.阁楼，顶楼

参考例句：

• We could see up into the loft from bottom of the stairs.我们能从楼梯脚边望到阁楼的内部。
• By converting the loft,they were able to have two extra bedrooms.把阁楼改造一下，他们就可以多出两间卧室。

112 swarming   

密集( swarm的现在分词 )； 云集； 成群地移动； 蜜蜂或其他飞行昆虫成群地飞来飞去

参考例句：

• The sacks of rice were swarming with bugs. 一袋袋的米里长满了虫子。
• The beach is swarming with bathers. 海滩满是海水浴的人。

113 secrete   

vt.分泌；隐匿，使隐秘

参考例句：

• The pores of your body secrete sweat.身上的毛孔分泌汗液。
• Squirrels secrete a supply of nuts for winter.松鼠为准备过冬而藏坚果。

114 behold   

v.看，注视，看到

参考例句：

• The industry of these little ants is wonderful to behold.这些小蚂蚁辛勤劳动的样子看上去真令人惊叹。
• The sunrise at the seaside was quite a sight to behold.海滨日出真是个奇景。

115 ramping   

土堤斜坡( ramp的现在分词 )； 斜道； 斜路； （装车或上下飞机的）活动梯

参考例句：

• The children love ramping about in the garden. 孩子们喜欢在花园里追逐嬉戏，闹着玩。
• Have you ever seen a lion ramping around? 你看到过狮子暴跳吗？

116 salvage   

v.救助，营救，援救；n.救助，营救

参考例句：

• All attempts to salvage the wrecked ship failed.抢救失事船只的一切努力都失败了。
• The salvage was piled upon the pier.抢救出的财产被堆放在码头上。

117 gaping   

adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大

参考例句：

• Ahead of them was a gaping abyss. 他们前面是一个巨大的深渊。
• The antelope could not escape the crocodile's gaping jaws. 那只羚羊无法从鱷鱼张开的大口中逃脱。 来自《简明英汉词典》

118 fawning   

adj.乞怜的，奉承的v.（尤指狗等）跳过来往人身上蹭以示亲热( fawn的现在分词 )；巴结；讨好

参考例句：

• The servant worn a fawning smile. 仆人的脸上露出一种谄笑。 来自《现代汉英综合大词典》
• Then, what submission, what cringing and fawning, what servility, what abject humiliation! 好一个低眉垂首、阿谀逢迎、胁肩谄笑、卑躬屈膝的场面！ 来自英汉文学 - 双城记

119 innocence   

n.无罪；天真；无害

参考例句：

• There was a touching air of innocence about the boy.这个男孩有一种令人感动的天真神情。
• The accused man proved his innocence of the crime.被告人经证实无罪。

120 subdue   

vt.制服，使顺从，征服；抑制，克制

参考例句：

• She tried to subdue her anger.她尽力压制自己的怒火。
• He forced himself to subdue and overcome his fears.他强迫自己克制并战胜恐惧心理。

121 avenging   

adj.报仇的，复仇的v.为…复仇，报…之仇( avenge的现在分词 )；为…报复

参考例句：

• He has devoted the past five years to avenging his daughter's death. 他过去5年一心报丧女之仇。 来自辞典例句
• His disfigured face was like some avenging nemesis of gargoyle design. 他那张破了相的脸，活象面目狰狞的复仇之神。 来自辞典例句

122 minor   

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。

123 rustic   

adj.乡村的，有乡村特色的；n.乡下人，乡巴佬

参考例句：

• It was nearly seven months of leisurely rustic living before Michael felt real boredom.这种悠闲的乡村生活过了差不多七个月之后,迈克尔开始感到烦闷。
• We hoped the fresh air and rustic atmosphere would help him adjust.我们希望新鲜的空气和乡村的氛围能帮他调整自己。

124 obsolete   

adj.已废弃的，过时的

参考例句：

• These goods are obsolete and will not fetch much on the market.这些货品过时了，在市场上卖不了高价。
• They tried to hammer obsolete ideas into the young people's heads.他们竭力把陈旧思想灌输给青年。

125 satires   

讽刺，讥讽( satire的名词复数 )； 讽刺作品

参考例句：

• Some of Aesop's Fables are satires. 《伊索寓言》中有一些是讽刺作品。
• Edith Wharton continued writing her satires of the life and manners of the New York aristocracy. 伊迪丝·沃顿继续写讽刺纽约贵族生活和习俗的作品。

126 satire   

n.讽刺，讽刺文学，讽刺作品

参考例句：

• The movie is a clever satire on the advertising industry.那部影片是关于广告业的一部巧妙的讽刺作品。
• Satire is often a form of protest against injustice.讽刺往往是一种对不公正的抗议形式。

127 clergy   

n.[总称]牧师，神职人员

参考例句：

• I could heartily wish that more of our country clergy would follow this example.我衷心希望，我国有更多的牧师效法这个榜样。
• All the local clergy attended the ceremony.当地所有的牧师出席了仪式。

128 fables   

n.寓言( fable的名词复数 )；神话，传说

参考例句：

• Some of Aesop's Fables are satires. 《伊索寓言》中有一些是讽刺作品。 来自《现代英汉综合大词典》
• Little Mexican boys also breathe the American fables. 墨西哥族的小孩子对美国神话也都耳濡目染。 来自辞典例句

129 epoch   

n.(新)时代；历元

参考例句：

• The epoch of revolution creates great figures.革命时代造就伟大的人物。
• We're at the end of the historical epoch,and at the dawn of another.我们正处在一个历史时代的末期，另一个历史时代的开端。

130 renaissance   

n.复活，复兴，文艺复兴

参考例句：

• The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
• The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。

131 dwarfs   

n.侏儒，矮子（dwarf的复数形式）vt.（使）显得矮小（dwarf的第三人称单数形式）

参考例句：

• Shakespeare dwarfs other dramatists. 莎士比亚使其他剧作家相形见绌。 来自《简明英汉词典》
• The new building dwarfs all the other buildings in the town. 新大楼使城里所有其他建筑物都显得矮小了。 来自辞典例句

132 demons   

n.恶人( demon的名词复数 )；恶魔；精力过人的人；邪念

参考例句：

• demons torturing the sinners in Hell 地狱里折磨罪人的魔鬼
• He is plagued by demons which go back to his traumatic childhood. 他为心魔所困扰，那可追溯至他饱受创伤的童年。 来自《简明英汉词典》

133 mythology   

n.神话，神话学，神话集

参考例句：

• In Greek mythology,Zeus was the ruler of Gods and men.在希腊神话中，宙斯是众神和人类的统治者。
• He is the hero of Greek mythology.他是希腊民间传说中的英雄。

134 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

• I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
• I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。

135 excellences   

n.卓越( excellence的名词复数 )；（只用于所修饰的名词后）杰出的；卓越的；出类拔萃的

参考例句：

• Excellences do not depend on a single man's pleasure. 某人某物是否优异不取决于一人的好恶。 来自互联网
• They do not recognize her many excellences. 他们无视她的各种长处。 来自互联网

136 sage   

n.圣人，哲人；adj.贤明的，明智的

参考例句：

• I was grateful for the old man's sage advice.我很感激那位老人贤明的忠告。
• The sage is the instructor of a hundred ages.这位哲人是百代之师。

137 delightfully   

大喜，欣然

参考例句：

• The room is delightfully appointed. 这房子的设备令人舒适愉快。 来自《现代汉英综合大词典》
• The evening is delightfully cool. 晚间凉爽宜人。 来自《现代汉英综合大词典》

138 melodious   

adj.旋律美妙的，调子优美的，音乐性的

参考例句：

• She spoke in a quietly melodious voice.她说话轻声细语，嗓音甜美。
• Everybody was attracted by her melodious voice.大家都被她悦耳的声音吸引住了。

139 monotonous   

adj.单调的，一成不变的，使人厌倦的

参考例句：

• She thought life in the small town was monotonous.她觉得小镇上的生活单调而乏味。
• His articles are fixed in form and monotonous in content.他的文章千篇一律，一个调调儿。

140 dealing   

n.经商方法，待人态度

参考例句：

• This store has an excellent reputation for fair dealing.该商店因买卖公道而享有极高的声誉。
• His fair dealing earned our confidence.他的诚实的行为获得我们的信任。

141 curiously   

adv.有求知欲地；好问地；奇特地

参考例句：

• He looked curiously at the people.他好奇地看着那些人。
• He took long stealthy strides. His hands were curiously cold.他迈着悄没声息的大步。他的双手出奇地冷。

142 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

• The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
• The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。

143 outgrown   

长[发展] 得超过（某物）的范围( outgrow的过去分词 )； 长[发展]得不能再要（某物）； 长得比…快； 生长速度超过

参考例句：

• She's already outgrown her school uniform. 她已经长得连校服都不能穿了。
• The boy has outgrown his clothes. 这男孩已长得穿不下他的衣服了。

144 kindly   

adj.和蔼的，温和的，爽快的；adv.温和地，亲切地

参考例句：

• Her neighbours spoke of her as kindly and hospitable.她的邻居都说她和蔼可亲、热情好客。
• A shadow passed over the kindly face of the old woman.一道阴影掠过老太太慈祥的面孔。

145 deficient   

adj.不足的，不充份的，有缺陷的

参考例句：

• The crops are suffering from deficient rain.庄稼因雨量不足而遭受损害。
• I always have been deficient in selfconfidence and decision.我向来缺乏自信和果断。

146 gallant   

adj.英勇的，豪侠的；(向女人)献殷勤的

参考例句：

• Huang Jiguang's gallant deed is known by all men. 黄继光的英勇事迹尽人皆知。
• These gallant soldiers will protect our country.这些勇敢的士兵会保卫我们的国家的。

147 awaken   

vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起

参考例句：

• Old people awaken early in the morning.老年人早晨醒得早。
• Please awaken me at six.请于六点叫醒我。

148 chirping   

鸟叫，虫鸣( chirp的现在分词 )

参考例句：

• The birds,chirping relentlessly,woke us up at daybreak. 破晓时鸟儿不断吱吱地叫，把我们吵醒了。
• The birds are chirping merrily. 鸟儿在欢快地鸣叫着。

149 prolific   

adj.丰富的，大量的；多产的，富有创造力的

参考例句：

• She is a prolific writer of novels and short stories.她是一位多产的作家，写了很多小说和短篇故事。
• The last few pages of the document are prolific of mistakes.这个文件的最后几页错误很多。

150 treasurer   

n.司库，财务主管

参考例句：

• Mr. Smith was succeeded by Mrs.Jones as treasurer.琼斯夫人继史密斯先生任会计。
• The treasurer was arrested for trying to manipulate the company's financial records.财务主管由于试图窜改公司财政帐目而被拘留。

151 predecessors   

n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身

参考例句：

• The new government set about dismantling their predecessors' legislation. 新政府正着手废除其前任所制定的法律。 来自《简明英汉词典》
• Will new plan be any more acceptable than its predecessors? 新计划比原先的计划更能令人满意吗？ 来自《简明英汉词典》

152 predecessor   

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。

153 inferno   

n.火海；地狱般的场所

参考例句：

• Rescue workers fought to get to victims inside the inferno.救援人员奋力营救大火中的受害者。
• The burning building became an inferno.燃烧着的大楼成了地狱般的地方。

154 magistrate   

n.地方行政官，地方法官，治安官

参考例句：

• The magistrate committed him to prison for a month.法官判处他一个月监禁。
• John was fined 1000 dollars by the magistrate.约翰被地方法官罚款1000美元。

155 magistrates   

地方法官，治安官( magistrate的名词复数 )

参考例句：

• to come up before the magistrates 在地方法院出庭
• He was summoned to appear before the magistrates. 他被传唤在地方法院出庭。

156 induction   

n.感应，感应现象

参考例句：

• His induction as a teacher was a turning point in his life.他就任教师工作是他一生的转折点。
• The magnetic signals are sensed by induction coils.磁信号由感应线圈所检测。

157 rime   

n.白霜；v.使蒙霜

参考例句：

• The field was covered with rime in the early morning.清晨地里覆盖着一层白霜。
• Coleridge contributed the famous Rime of the Ancient Mariner.柯勒律治贡献了著名的《老水手之歌》。

158 interspersed   

adj.[医]散开的；点缀的v.intersperse的过去式和过去分词

参考例句：

• Lectures will be interspersed with practical demonstrations. 讲课中将不时插入实际示范。
• The grass was interspersed with beds of flowers. 草地上点缀着许多花坛。 来自《现代英汉综合大词典》

159 defense   

n.防御，保卫；[pl.]防务工事；辩护，答辩

参考例句：

• The accused has the right to defense.被告人有权获得辩护。
• The war has impacted the area with military and defense workers.战争使那个地区挤满了军队和防御工程人员。

160 labored   

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

参考例句：

• I was close enough to the elk to hear its labored breathing. 我离那头麋鹿非常近，能听见它吃力的呼吸声。 来自辞典例句
• They have labored to complete the job. 他们努力完成这一工作。 来自辞典例句

161 unnatural   

adj.不自然的；反常的

参考例句：

• Did her behaviour seem unnatural in any way?她有任何反常表现吗？
• She has an unnatural smile on her face.她脸上挂着做作的微笑。

162 hue   

n.色度；色调；样子

参考例句：

• The diamond shone with every hue under the sun.金刚石在阳光下放出五颜六色的光芒。
• The same hue will look different in different light.同一颜色在不同的光线下看起来会有所不同。

163 betrothed   

n. 已订婚者 动词betroth的过去式和过去分词

参考例句：

• She is betrothed to John. 她同约翰订了婚。
• His daughter was betrothed to a teacher. 他的女儿同一个教师订了婚。

164 abound   

vi.大量存在；(in，with)充满，富于

参考例句：

• Oranges abound here all the year round.这里一年到头都有很多橙子。
• But problems abound in the management of State-owned companies.但是在国有企业的管理中仍然存在不少问题。

165 mere   

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。

166 odyssey   

n.长途冒险旅行；一连串的冒险

参考例句：

• The march to Travnik was the final stretch of a 16-hour odyssey.去特拉夫尼克的这段路是长达16小时艰险旅行的最后一程。
• His odyssey of passion, friendship,love,and revenge was now finished.他的热情、友谊、爱情和复仇的漫长历程，到此结束了。

167 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

168 barons   

男爵( baron的名词复数 )； 巨头； 大王； 大亨

参考例句：

• The barons of Normandy had refused to countenance the enterprise officially. 诺曼底的贵族们拒绝正式赞助这桩买卖。
• The barons took the oath which Stephen Langton prescribed. 男爵们照斯蒂芬？兰顿的指导宣了誓。

169 baron   

n.男爵；(商业界等)巨头，大王

参考例句：

• Henry Ford was an automobile baron.亨利·福特是一位汽车业巨头。
• The baron lived in a strong castle.男爵住在一座坚固的城堡中。

170 ballad   

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。

171 primitive   

adj.原始的；简单的；n.原(始)人，原始事物

参考例句：

• It is a primitive instinct to flee a place of danger.逃离危险的地方是一种原始本能。
• His book describes the march of the civilization of a primitive society.他的著作描述了一个原始社会的开化过程。

172 vigor   

n.活力，精力，元气

参考例句：

• The choir sang the words out with great vigor.合唱团以极大的热情唱出了歌词。
• She didn't want to be reminded of her beauty or her former vigor.现在，她不愿人们提起她昔日的美丽和以前的精力充沛。

173 scouts   

侦察员[机，舰]( scout的名词复数 )； 童子军； 搜索； 童子军成员

参考例句：

• to join the Scouts 参加童子军
• The scouts paired off and began to patrol the area. 巡逻人员两个一组，然后开始巡逻这个地区。

174 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

• It's precisely that sort of slick sales-talk that I mistrust.我不相信的正是那种油腔滑调的推销宣传。
• The man adjusted very precisely.那个人调得很准。

175 illustrate   

v.举例说明，阐明；图解，加插图

参考例句：

• The company's bank statements illustrate its success.这家公司的银行报表说明了它的成功。
• This diagram will illustrate what I mean.这个图表可说明我的意思。

176 inevitably   

adv.不可避免地；必然发生地

参考例句：

• In the way you go on,you are inevitably coming apart.照你们这样下去，毫无疑问是会散伙的。
• Technological changes will inevitably lead to unemployment.技术变革必然会导致失业。

177 choir   

n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱

参考例句：

• The choir sang the words out with great vigor.合唱团以极大的热情唱出了歌词。
• The church choir is singing tonight.今晚教堂歌唱队要唱诗。

178 testament   

n.遗嘱；证明

参考例句：

• This is his last will and testament.这是他的遗愿和遗嘱。
• It is a testament to the power of political mythology.这说明，编造政治神话可以产生多大的威力。

179 judgment   

n.审判；判断力，识别力，看法，意见

参考例句：

• The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
• He's a man of excellent judgment.他眼力过人。

180 drawn   

v.拖，拉，拔出；adj.憔悴的，紧张的

参考例句：

• All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
• Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。

181 possessed   

adj.疯狂的；拥有的，占有的

参考例句：

• He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
• He behaved like someone possessed.他行为举止像是魔怔了。

182 corrupt   

v.贿赂，收买；adj.腐败的，贪污的

参考例句：

• The newspaper alleged the mayor's corrupt practices.那家报纸断言市长有舞弊行为。
• This judge is corrupt.这个法官贪污。

183 overflowed   

溢出的

参考例句：

• Plates overflowed with party food. 聚会上的食物碟满盘盈。
• A great throng packed out the theater and overflowed into the corridors. 一大群人坐满剧院并且还有人涌到了走廊上。 来自《简明英汉词典》

184 hilarity   

n.欢乐；热闹

参考例句：

• The announcement was greeted with much hilarity and mirth.这一项宣布引起了热烈的欢呼声。
• Wine gives not light hilarity,but noisy merriment.酒不给人以轻松的欢乐，而给人以嚣嚷的狂欢。

185 guilds   

行会，同业公会，协会( guild的名词复数 )

参考例句：

• View list of the guilds that Small has war on. 看目前有哪些公会是我们公会开战的对象及对我们开战的对象。
• Guilds and kingdoms fit more with the Middle Age fantasy genre. （裴）:公会和王国更适合中世纪奇幻类型。

186 guild   

n.行会，同业公会，协会

参考例句：

• He used to be a member of the Writers' Guild of America.他曾是美国作家协会的一员。
• You had better incorporate the firm into your guild.你最好把这个公司并入你的行业协会。

187 unity   

n.团结，联合，统一；和睦，协调

参考例句：

• When we speak of unity,we do not mean unprincipled peace.所谓团结，并非一团和气。
• We must strengthen our unity in the face of powerful enemies.大敌当前，我们必须加强团结。

188 scattered   

adj.分散的，稀疏的；散步的；疏疏落落的

参考例句：

• Gathering up his scattered papers,he pushed them into his case.他把散乱的文件收拾起来，塞进文件夹里。

189 dressing   

n.(食物)调料；包扎伤口的用品，敷料

参考例句：

• Don't spend such a lot of time in dressing yourself.别花那么多时间来打扮自己。
• The children enjoy dressing up in mother's old clothes.孩子们喜欢穿上妈妈旧时的衣服玩。

190 wrangling   

v.争吵，争论，口角( wrangle的现在分词 )

参考例句：

• The two sides have spent most of their time wrangling over procedural problems. 双方大部分时间都在围绕程序问题争论不休。 来自辞典例句
• The children were wrangling (with each other) over the new toy. 孩子为新玩具（互相）争吵。 来自辞典例句

191 prankish   

adj.爱开玩笑的，恶作剧的；开玩笑性质的

参考例句：

192 tyrant   

n.暴君，专制的君主，残暴的人

参考例句：

• The country was ruled by a despotic tyrant.该国处在一个专制暴君的统治之下。
• The tyrant was deaf to the entreaties of the slaves.暴君听不到奴隶们的哀鸣。

193 butt   

n.笑柄；烟蒂；枪托；臀部；v.用头撞或顶

参考例句：

• The water butt catches the overflow from this pipe.大水桶盛接管子里流出的东西。
• He was the butt of their jokes.他是他们的笑柄。

194 pranks   

n.玩笑，恶作剧( prank的名词复数 )

参考例句：

• Frank's errancy consisted mostly of pranks. 法兰克错在老喜欢恶作剧。 来自辞典例句
• He always leads in pranks and capers. 他老是带头胡闹和开玩笑。 来自辞典例句

195 jaws   

n.口部；嘴

参考例句：

• The antelope could not escape the crocodile's gaping jaws. 那只羚羊无法从鱷鱼张开的大口中逃脱。
• The scored jaws of a vise help it bite the work. 台钳上有刻痕的虎钳牙帮助它紧咬住工件。

196 belching   

n. 喷出，打嗝 动词belch的现在分词形式

参考例句：

• The Tartars employed another weapon, the so-called Chinese dragon belching fire. 鞑靼人使用了另一种武器，所谓中国龙喷火器。
• Billows of smoke were belching from the chimney. 巨浪似的烟正从烟囱里喷出来。

197 shrieking   

v.尖叫( shriek的现在分词 )

参考例句：

• The boxers were goaded on by the shrieking crowd. 拳击运动员听见观众的喊叫就来劲儿了。 来自《简明英汉词典》
• They were all shrieking with laughter. 他们都发出了尖锐的笑声。 来自《简明英汉词典》

198 kindliness   

n.厚道，亲切，友好的行为

参考例句：

• Martha looked up into a strange face and dark eyes alight with kindliness and concern. 马撒慢慢抬起头，映入眼帘的是张陌生的脸，脸上有一双充满慈爱和关注的眼睛。 来自辞典例句
• I think the chief thing that struck me about Burton was his kindliness. 我想，我对伯顿印象最深之处主要还是这个人的和善。 来自辞典例句

199 tune   

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。

200 originality   

n.创造力，独创性；新颖

参考例句：

• The name of the game in pop music is originality.流行音乐的本质是独创性。
• He displayed an originality amounting almost to genius.他显示出近乎天才的创造性。

201 martyr   

n.烈士，殉难者；vt.杀害，折磨，牺牲

参考例句：

• The martyr laid down his life for the cause of national independence.这位烈士是为了民族独立的事业而献身的。
• The newspaper carried the martyr's photo framed in black.报上登载了框有黑边的烈士遗像。

202 celebrated   

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。

203 repentance   

n.懊悔

参考例句：

• He shows no repentance for what he has done.他对他的所作所为一点也不懊悔。
• Christ is inviting sinners to repentance.基督正在敦请有罪的人悔悟。

204 vices   

缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳

参考例句：

• In spite of his vices, he was loved by all. 尽管他有缺点，还是受到大家的爱戴。
• He vituperated from the pulpit the vices of the court. 他在教堂的讲坛上责骂宫廷的罪恶。

205 portray   

v.描写，描述；画(人物、景象等)

参考例句：

• It is difficult to portray feelings in words.感情很难用言语来描写。
• Can you portray the best and worst aspects of this job?您能描述一下这份工作最好与最坏的方面吗？

206 tract   

n.传单，小册子，大片(土地或森林)

参考例句：

• He owns a large tract of forest.他拥有一大片森林。
• He wrote a tract on this subject.他曾对此写了一篇短文。

207 auto   

n.(=automobile)(口语)汽车

参考例句：

• Don't park your auto here.别把你的汽车停在这儿。
• The auto industry has brought many people to Detroit.汽车工业把许多人吸引到了底特律。

208 dreary   

adj.令人沮丧的，沉闷的，单调乏味的

参考例句：

• They live such dreary lives.他们的生活如此乏味。
• She was tired of hearing the same dreary tale of drunkenness and violence.她听够了那些关于酗酒和暴力的乏味故事。

209 torment   

n.折磨；令人痛苦的东西(人)；vt.折磨；纠缠

参考例句：

• He has never suffered the torment of rejection.他从未经受过遭人拒绝的痛苦。
• Now nothing aggravates me more than when people torment each other.没有什么东西比人们的互相折磨更使我愤怒。

210 mischievous   

adj.调皮的，恶作剧的，有害的，伤人的

参考例句：

• He is a mischievous but lovable boy.他是一个淘气但可爱的小孩。
• A mischievous cur must be tied short.恶狗必须拴得短。

211 inevitable   

adj.不可避免的，必然发生的

参考例句：

• Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。
• The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

212 perseverance   

n.坚持不懈，不屈不挠

参考例句：

• It may take some perseverance to find the right people.要找到合适的人也许需要有点锲而不舍的精神。
• Perseverance leads to success.有恒心就能胜利。

213 garrisoned   

卫戍部队守备( garrison的过去式和过去分词 )； 派部队驻防

参考例句：

• The town was garrisoned with two regiments. 该镇有两团士兵驻守。
• A hundred soldiers were garrisoned in the town. 派了一百名士兵在城里驻防。

214 besieged   

包围，围困，围攻( besiege的过去式和过去分词 )

参考例句：

• Paris was besieged for four months and forced to surrender. 巴黎被围困了四个月后被迫投降。
• The community besieged the newspaper with letters about its recent editorial. 公众纷纷来信对报社新近发表的社论提出诘问，弄得报社应接不暇。

215 scotch   

n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的

参考例句：

• Facts will eventually scotch these rumours.这种谣言在事实面前将不攻自破。
• Italy was full of fine views and virtually empty of Scotch whiskey.意大利多的是美景，真正缺的是苏格兰威士忌。

216 satirize   

v.讽刺

参考例句：

• Somebody satirize that the general's lacking in courage.有人讽刺这位将军缺乏勇气。
• Luxun created such an image to satirize.鲁迅是为了讽刺才塑造这样一个人物形象的。

217 margin   

n.页边空白；差额；余地，余裕；边，边缘

参考例句：

• We allowed a margin of 20 minutes in catching the train.我们有20分钟的余地赶火车。
• The village is situated at the margin of a forest.村子位于森林的边缘。

218 undoubtedly   

adv.确实地，无疑地

参考例句：

• It is undoubtedly she who has said that.这话明明是她说的。
• He is undoubtedly the pride of China.毫无疑问他是中国的骄傲。

219 climax   

n.顶点；高潮；v.(使)达到顶点

参考例句：

• The fifth scene was the climax of the play.第五场是全剧的高潮。
• His quarrel with his father brought matters to a climax.他与他父亲的争吵使得事态发展到了顶点。

220 catching   

adj.易传染的，有魅力的，迷人的，接住

参考例句：

• There are those who think eczema is catching.有人就是认为湿疹会传染。
• Enthusiasm is very catching.热情非常富有感染力。

221 doggerel   

n.拙劣的诗，打油诗

参考例句：

• The doggerel doesn't filiate itself.这首打油诗没有标明作者是谁。
• He styled his poem doggerel.他把他的这首诗歌叫做打油诗。

222 artistic   

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。

223 motive   

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。

224 conceited   

adj.自负的，骄傲自满的

参考例句：

• He could not bear that they should be so conceited.他们这样自高自大他受不了。
• I'm not as conceited as so many people seem to think.我不像很多人认为的那么自负。

225 conceit   

n.自负，自高自大

参考例句：

• As conceit makes one lag behind,so modesty helps one make progress.骄傲使人落后，谦虚使人进步。
• She seems to be eaten up with her own conceit.她仿佛已经被骄傲冲昏了头脑。

226 overestimated   

对（数量）估计过高，对…作过高的评价( overestimate的过去式和过去分词 )

参考例句：

• They overestimated his ability when they promoted him. 他们提拔他的时候高估了他的能力。
• The Ministry of Finance consistently overestimated its budget deficits. 财政部一贯高估预算赤字。

227 calamity   

n.灾害，祸患，不幸事件

参考例句：

• Even a greater natural calamity cannot daunt us. 再大的自然灾害也压不垮我们。
• The attack on Pearl Harbor was a crushing calamity.偷袭珍珠港(对美军来说)是一场毁灭性的灾难。

228 irate   

adj.发怒的，生气

参考例句：

• The irate animal made for us,coming at a full jump.那头发怒的动物以最快的速度向我们冲过来。
• We have received some irate phone calls from customers.我们接到顾客打来的一些愤怒的电话

229 bishop   

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。

230 bedlam   

n.混乱，骚乱；疯人院

参考例句：

• He is causing bedlam at the hotel.他正搅得旅馆鸡犬不宁。
• When the teacher was called away the classroom was a regular bedlam.当老师被叫走的时候，教室便喧闹不堪。

231 licensed   

adj.得到许可的v.许可，颁发执照(license的过去式和过去分词)

参考例句：

• The new drug has not yet been licensed in the US. 这种新药尚未在美国获得许可。
• Is that gun licensed? 那支枪有持枪执照吗？

232 hearth   

n.壁炉炉床，壁炉地面

参考例句：

• She came and sat in a chair before the hearth.她走过来，在炉子前面的椅子上坐下。
• She comes to the hearth,and switches on the electric light there.她走到壁炉那里，打开电灯。

233 nought   

n.／adj.无，零

参考例句：

• We must bring their schemes to nought.我们必须使他们的阴谋彻底破产。
• One minus one leaves nought.一减一等于零。

234 hood   

n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖

参考例句：

• She is wearing a red cloak with a hood.她穿着一件红色带兜帽的披风。
• The car hood was dented in.汽车的发动机罩已凹了进去。

235 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

236 playwright   

n.剧作家，编写剧本的人

参考例句：

• Gwyn Thomas was a famous playwright.格温·托马斯是著名的剧作家。
• The playwright was slaughtered by the press.这位剧作家受到新闻界的无情批判。

237 playwrights   

n.剧作家( playwright的名词复数 )

参考例句：

• We're studying dramatic texts by sixteenth century playwrights. 我们正在研究16 世纪戏剧作家的戏剧文本。 来自《简明英汉词典》
• Hung-chien asked who the playwrights were. 鸿渐问谁写的剧本。 来自汉英文学 - 围城

238 slay   

v.杀死，宰杀，杀戮

参考例句：

• He intended to slay his father's murderer.他意图杀死杀父仇人。
• She has ordered me to slay you.她命令我把你杀了。

239 slays   

杀死，宰杀，杀戮( slay的第三人称单数 )

参考例句：

• No other infection so quickly slays. 再没有别的疾病会造成如此迅速的死亡。
• That clown just slays me. 那小丑真叫我笑死了。

240 anarchy   

n.无政府状态；社会秩序混乱，无秩序

参考例句：

• There would be anarchy if we had no police.要是没有警察，社会就会无法无天。
• The country was thrown into a state of anarchy.这国家那时一下子陷入无政府状态。

241 invader   

n.侵略者，侵犯者，入侵者

参考例句：

• They suffered a lot under the invader's heel.在侵略者的铁蹄下，他们受尽了奴役。
• A country must have the will to repel any invader.一个国家得有决心击退任何入侵者。

242 curt   

adj.简短的，草率的

参考例句：

• He gave me an extremely curt answer.他对我作了极为草率的答复。
• He rapped out a series of curt commands.他大声发出了一连串简短的命令。

243 marred   

adj. 被损毁, 污损的

参考例句：

• The game was marred by the behaviour of drunken fans. 喝醉了的球迷行为不轨，把比赛给搅了。
• Bad diction marred the effectiveness of his speech. 措词不当影响了他演说的效果。

244 uncertainty   

n.易变，靠不住，不确知，不确定的事物

参考例句：

• Her comments will add to the uncertainty of the situation.她的批评将会使局势更加不稳定。
• After six weeks of uncertainty,the strain was beginning to take its toll.6个星期的忐忑不安后，压力开始产生影响了。

245 revival   

n.复兴，复苏，（精力、活力等的）重振

参考例句：

• The period saw a great revival in the wine trade.这一时期葡萄酒业出现了很大的复苏。
• He claimed the housing market was showing signs of a revival.他指出房地产市场正出现复苏的迹象。

246 decided   

adj.决定了的，坚决的；明显的，明确的

参考例句：

• This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。
• There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。

247 hamper   

vt.妨碍，束缚，限制；n.(有盖的)大篮子

参考例句：

• There are some apples in a picnic hamper.在野餐用的大篮子里有许多苹果。
• The emergence of such problems seriously hamper the development of enterprises.这些问题的出现严重阻碍了企业的发展。

248 exuberant   

adj.充满活力的；（植物）繁茂的

参考例句：

• Hothouse plants do not possess exuberant vitality.在温室里培养出来的东西，不会有强大的生命力。
• All those mother trees in the garden are exuberant.果园里的那些母树都长得十分茂盛。

249 strictly   

adv.严厉地，严格地；严密地

参考例句：

• His doctor is dieting him strictly.他的医生严格规定他的饮食。
• The guests were seated strictly in order of precedence.客人严格按照地位高低就座。

250 ridiculed   

v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 )

参考例句：

• Biosphere 2 was ultimately ridiculed as a research debade, as exfravagant pseudoscience. 生物圈2号最终被讥讽为科研上的大失败，代价是昂贵的伪科学。 来自《简明英汉词典》
• She ridiculed his insatiable greed. 她嘲笑他的贪得无厌。 来自《简明英汉词典》

251 ridicule   

v.讥讽，挖苦；n.嘲弄

参考例句：

• You mustn't ridicule unfortunate people.你不该嘲笑不幸的人。
• Silly mistakes and queer clothes often arouse ridicule.荒谬的错误和古怪的服装常会引起人们的讪笑。

252 ridicules   

n.嘲笑( ridicule的名词复数 )；奚落；嘲弄；戏弄v.嘲笑，嘲弄，奚落( ridicule的第三人称单数 )

参考例句：

253 extravagant   

adj.奢侈的；过分的；(言行等)放肆的

参考例句：

• They tried to please him with fulsome compliments and extravagant gifts.他们想用溢美之词和奢华的礼品来取悦他。
• He is extravagant in behaviour.他行为放肆。

254 immediate   

adj.立即的；直接的，最接近的；紧靠的

参考例句：

• His immediate neighbours felt it their duty to call.他的近邻认为他们有责任去拜访。
• We declared ourselves for the immediate convocation of the meeting.我们主张立即召开这个会议。

255 theatrical   

adj.剧场的，演戏的；做戏似的，做作的

参考例句：

• The final scene was dismayingly lacking in theatrical effect.最后一场缺乏戏剧效果，叫人失望。
• She always makes some theatrical gesture.她老在做些夸张的手势。

256 permanently   

adv.永恒地，永久地，固定不变地

参考例句：

• The accident left him permanently scarred.那次事故给他留下了永久的伤疤。
• The ship is now permanently moored on the Thames in London.该船现在永久地停泊在伦敦泰晤士河边。

257 Ford   

n.浅滩，水浅可涉处；v.涉水，涉过

参考例句：

• They were guarding the bridge,so we forded the river.他们驻守在那座桥上，所以我们只能涉水过河。
• If you decide to ford a stream,be extremely careful.如果已决定要涉过小溪，必须极度小心。

258 gilded   

a.镀金的，富有的

参考例句：

• The golden light gilded the sea. 金色的阳光使大海如金子般闪闪发光。
• "Friends, they are only gilded disks of lead!" "朋友们，这只不过是些镀金的铅饼！ 来自英汉文学 - 败坏赫德莱堡

259 distressing   

a.使人痛苦的

参考例句：

• All who saw the distressing scene revolted against it. 所有看到这种悲惨景象的人都对此感到难过。
• It is distressing to see food being wasted like this. 这样浪费粮食令人痛心。

260 squeaking   

v.短促地尖叫( squeak的现在分词 )；吱吱叫；告密；充当告密者

参考例句：

• Squeaking floorboards should be screwed down. 踏上去咯咯作响的地板应用螺钉钉住。 来自《简明英汉词典》
• Can you hear the mice squeaking? 你听到老鼠吱吱叫吗？ 来自《简明英汉词典》

261 chapel   

n.小教堂，殡仪馆

参考例句：

• The nimble hero,skipped into a chapel that stood near.敏捷的英雄跳进近旁的一座小教堂里。
• She was on the peak that Sunday afternoon when she played in chapel.那个星期天的下午，她在小教堂的演出，可以说是登峰造极。

262 farces   

n.笑剧( farce的名词复数 )；闹剧；笑剧剧目；作假的可笑场面

参考例句：

• Its repertoire includes historical plays, comedies, tragedies and farces. 京剧的曲目包括历史剧、喜剧、悲剧和笑剧。 来自互联网
• He likes to watch farces at weekends to relax himself. 他喜欢在周末看滑稽剧来放松自己。 来自互联网

263 farce   

n.闹剧，笑剧，滑稽戏；胡闹

参考例句：

• They played a shameful role in this farce.他们在这场闹剧中扮演了可耻的角色。
• The audience roared at the farce.闹剧使观众哄堂大笑。

264 influential   

adj.有影响的，有权势的

参考例句：

• He always tries to get in with the most influential people.他总是试图巴结最有影响的人物。
• He is a very influential man in the government.他在政府中是个很有影响的人物。

265 witty   

adj.机智的，风趣的

参考例句：

• Her witty remarks added a little salt to the conversation.她的妙语使谈话增添了一些风趣。
• He scored a bull's-eye in their argument with that witty retort.在他们的辩论中他那一句机智的反驳击中了要害。

266 melodrama   

n.音乐剧；情节剧

参考例句：

• We really don't need all this ridiculous melodrama!别跟我们来这套荒唐的情节剧表演！
• White Haired Woman was a melodrama,but in certain spots it was deliberately funny.《白毛女》是一出悲剧性的歌剧，但也有不少插科打诨。

267 derived   

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》

268 craftsmen   

n. 技工

参考例句：

• rugs handmade by local craftsmen 由当地工艺师手工制作的小地毯
• The craftsmen have ensured faithful reproduction of the original painting. 工匠保证要复制一幅最接近原作的画。

269 regiment   

n.团，多数，管理；v.组织，编成团，统制

参考例句：

• As he hated army life,he decide to desert his regiment.因为他嫌恶军队生活，所以他决心背弃自己所在的那个团。
• They reformed a division into a regiment.他们将一个师整编成为一个团。

270 aspiring   

adj.有志气的；有抱负的；高耸的v.渴望；追求

参考例句：

• Aspiring musicians need hours of practice every day. 想当音乐家就要每天练许多小时。
• He came from an aspiring working-class background. 他出身于有抱负的工人阶级家庭。 来自辞典例句

271 faculties   

n.能力( faculty的名词复数 )；全体教职员；技巧；院

参考例句：

• Although he's ninety, his mental faculties remain unimpaired. 他虽年届九旬，但头脑仍然清晰。
• All your faculties have come into play in your work. 在你的工作中，你的全部才能已起到了作用。 来自《简明英汉词典》

272 wondrous   

adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地

参考例句：

• The internal structure of the Department is wondrous to behold.看一下国务院的内部结构是很有意思的。
• We were driven across this wondrous vast land of lakes and forests.我们乘车穿越这片有着湖泊及森林的广袤而神奇的土地。

273 longing   

n.（for）渴望

参考例句：

• Hearing the tune again sent waves of longing through her.再次听到那首曲子使她胸中充满了渴望。
• His heart burned with longing for revenge.他心中燃烧着急欲复仇的怒火。

274 unlimited   

adj.无限的，不受控制的，无条件的

参考例句：

• They flew over the unlimited reaches of the Arctic.他们飞过了茫茫无边的北极上空。
• There is no safety in unlimited technological hubris.在技术方面自以为是会很危险。

275 tavern   

n.小旅馆，客栈；小酒店

参考例句：

• There is a tavern at the corner of the street.街道的拐角处有一家酒馆。
• Philip always went to the tavern,with a sense of pleasure.菲利浦总是心情愉快地来到这家酒菜馆。

276 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

• After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
• They're standing out against any change in the law.他们坚决反对对法律做任何修改。

277 depict   

vt.描画，描绘；描写，描述

参考例句：

• I don't care to see plays or films that depict murders or violence.我不喜欢看描写谋杀或暴力的戏剧或电影。
• Children's books often depict farmyard animals as gentle,lovable creatures.儿童图书常常把农场的动物描写得温和而可爱。

278 depicts   

描绘，描画( depict的第三人称单数 )； 描述

参考例句：

• The book vividly depicts French society of the 1930s. 这本书生动地描绘了20 世纪30 年代的法国社会。
• He depicts the sordid and vulgar sides of life exclusively. 他只描写人生肮脏和庸俗的一面。

279 apprentice   

n.学徒，徒弟

参考例句：

• My son is an apprentice in a furniture maker's workshop.我的儿子在一家家具厂做学徒。
• The apprentice is not yet out of his time.这徒工还没有出徒。

280 apprenticeship   

n.学徒身份；学徒期

参考例句：

• She was in the second year of her apprenticeship as a carpenter. 她当木工学徒已是第二年了。
• He served his apprenticeship with Bob. 他跟鲍勃当学徒。

281 brawl   

n.大声争吵，喧嚷；v.吵架，对骂

参考例句：

• They had nothing better to do than brawl in the street.他们除了在街上斗殴做不出什么好事。
• I don't want to see our two neighbours engaged in a brawl.我不希望我们两家吵架吵得不可开交。

282 bough   

n.大树枝，主枝

参考例句：

• I rested my fishing rod against a pine bough.我把钓鱼竿靠在一棵松树的大树枝上。
• Every bough was swinging in the wind.每条树枝都在风里摇摆。

283 revolving   

adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想

参考例句：

• The theatre has a revolving stage. 剧院有一个旋转舞台。
• The company became a revolving-door workplace. 这家公司成了工作的中转站。

284 intoxicated   

喝醉的，极其兴奋的

参考例句：

• She was intoxicated with success. 她为成功所陶醉。
• They became deeply intoxicated and totally disoriented. 他们酩酊大醉，东南西北全然不辨。

285 overrides   

越控( override的第三人称单数 )； （以权力）否决； 优先于； 比…更重要

参考例句：

• The new rule overrides all the previous ones. 新规则使以前的所有规则失效。
• The application configuration file setting overrides the machine configuration file setting. 应用程序配置文件设置重写计算机配置文件设置。

286 afflict   

vt.使身体或精神受痛苦，折磨

参考例句：

• I wish you wouldn't afflict me with your constant complains.我希望你不要总是抱怨而使我苦恼。
• There are many illnesses,which afflict old people.有许多疾病困扰着老年人。

287 afflicted   

使受痛苦，折磨( afflict的过去式和过去分词 )

参考例句：

• About 40% of the country's population is afflicted with the disease. 全国40%左右的人口患有这种疾病。
• A terrible restlessness that was like to hunger afflicted Martin Eden. 一阵可怕的、跟饥饿差不多的不安情绪折磨着马丁·伊登。

288 raves   

n.狂欢晚会( rave的名词复数 )v.胡言乱语( rave的第三人称单数 )；愤怒地说；咆哮；痴心地说

参考例句：

• She raves about that singer. 她醉心地谈论那位歌手。 来自辞典例句
• His new play received raves in the paper. 他的新剧本在报纸上受到赞扬。 来自辞典例句

289 overthrow   

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。

290 overthrown   

adj. 打翻的，推倒的，倾覆的 动词overthrow的过去分词

参考例句：

• The president was overthrown in a military coup. 总统在军事政变中被赶下台。
• He has overthrown the basic standards of morality. 他已摒弃了基本的道德标准。

291 civilized   

a.有教养的，文雅的

参考例句：

• Racism is abhorrent to a civilized society. 文明社会憎恶种族主义。
• rising crime in our so-called civilized societies 在我们所谓文明社会中日益增多的犯罪行为

292 adoption   

n.采用，采纳，通过；收养

参考例句：

• An adoption agency had sent the boys to two different families.一个收养机构把他们送给两个不同的家庭。
• The adoption of this policy would relieve them of a tremendous burden.采取这一政策会给他们解除一个巨大的负担。

293 panorama   

n.全景，全景画，全景摄影，全景照片[装置]

参考例句：

• A vast panorama of the valley lay before us.山谷的广阔全景展现在我们面前。
• A flourishing and prosperous panorama spread out before our eyes.一派欣欣向荣的景象展现在我们的眼前。

294 regained   

复得( regain的过去式和过去分词 )； 赢回； 重回； 复至某地

参考例句：

• The majority of the people in the world have regained their liberty. 世界上大多数人已重获自由。
• She hesitated briefly but quickly regained her poise. 她犹豫片刻，但很快恢复了镇静。

295 circumscribed   

adj.[医]局限的：受限制或限于有限空间的v.在…周围划线( circumscribe的过去式和过去分词 )；划定…范围；限制；限定

参考例句：

• The power of the monarchy was circumscribed by the new law. 君主统治的权力受到了新法律的制约。
• His activities have been severely circumscribed since his illness. 自生病以来他的行动一直受到严格的限制。 来自《简明英汉词典》

296 tragic   

adj.悲剧的，悲剧性的，悲惨的

参考例句：

• The effect of the pollution on the beaches is absolutely tragic.污染海滩后果可悲。
• Charles was a man doomed to tragic issues.查理是个注定不得善终的人。

297 misery   

n.痛苦，苦恼，苦难；悲惨的境遇，贫苦

参考例句：

• Business depression usually causes misery among the working class.商业不景气常使工薪阶层受苦。
• He has rescued me from the mire of misery.他把我从苦海里救了出来。

298 delineation   

n.记述；描写

参考例句：

• Biography must to some extent delineate characters.传记必须在一定程度上描绘人物。
• Delineation of channels is the first step of geologic evaluation.勾划河道的轮廓是地质解译的第一步。

299 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

300 awakened   

v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到

参考例句：

• She awakened to the sound of birds singing. 她醒来听到鸟的叫声。
• The public has been awakened to the full horror of the situation. 公众完全意识到了这一状况的可怕程度。 来自《简明英汉词典》

301 robin   

n.知更鸟，红襟鸟

参考例句：

• The robin is the messenger of spring.知更鸟是报春的使者。
• We knew spring was coming as we had seen a robin.我们看见了一只知更鸟，知道春天要到了。

302 legendary   

adj.传奇（中）的，闻名遐迩的；n.传奇（文学）

参考例句：

• Legendary stories are passed down from parents to children.传奇故事是由父母传给孩子们的。
• Odysseus was a legendary Greek hero.奥狄修斯是传说中的希腊英雄。

303 varied   

adj.多样的，多变化的

参考例句：

• The forms of art are many and varied.艺术的形式是多种多样的。
• The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。

304 bombast   

n.高调，夸大之辞

参考例句：

• There was no bombast or conceit in his speech.他的演讲并没有夸大其词和自吹自擂。
• Yasha realized that Wolsky's bombast was unnecessary.雅夏看出沃尔斯基是在无中生有地吹嘘。

305 chaos   

n.混乱，无秩序

参考例句：

• After the failure of electricity supply the city was in chaos.停电后，城市一片混乱。
• The typhoon left chaos behind it.台风后一片混乱。

306 meager   

adj.缺乏的，不足的，瘦的

参考例句：

• He could not support his family on his meager salary.他靠微薄的工资无法养家。
• The two men and the woman grouped about the fire and began their meager meal.两个男人同一个女人围着火，开始吃起少得可怜的午饭。

307 apparently   

adv.显然地；表面上，似乎

参考例句：

• An apparently blind alley leads suddenly into an open space.山穷水尽，豁然开朗。
• He was apparently much surprised at the news.他对那个消息显然感到十分惊异。

308 retired   

adj.隐退的，退休的，退役的

参考例句：

• The old man retired to the country for rest.这位老人下乡休息去了。
• Many retired people take up gardening as a hobby.许多退休的人都以从事园艺为嗜好。

309 descended   

a.为...后裔的，出身于...的

参考例句：

• A mood of melancholy descended on us. 一种悲伤的情绪袭上我们的心头。
• The path descended the hill in a series of zigzags. 小路呈连续的之字形顺着山坡蜿蜒而下。

310 audited   

v.审计，查账( audit的过去式和过去分词 )

参考例句：

• The accounts have to be audited by a firm of external auditors. 这些账目必须由一家外聘审计员的公司来稽查。 来自《简明英汉词典》
• E. g. few if any charities collection publishes audited accounts. 例如很少义款收集有公布经过查核的帐目。 来自互联网

311 attesting   

v.证明( attest的现在分词 )；证实；声称…属实；使宣誓

参考例句：

• Thus, a word of God, giving his own authoritative promise of redemption, must be self-attesting. 因此，上帝的话-将祂自己权威性的救赎应许赐给了人-必须是自证的。 来自互联网
• There might be a letter in your file attesting to your energetic and imaginative teaching. 可能我会写封信证明你生动而充满想象力的教学。 来自互联网

312 anvil   

n.铁钻

参考例句：

• The blacksmith shaped a horseshoe on his anvil.铁匠在他的铁砧上打出一个马蹄形。
• The anvil onto which the staples are pressed was not assemble correctly.订书机上的铁砧安装错位。

313 shears   

n.大剪刀

参考例句：

• These garden shears are lightweight and easy to use.这些园丁剪刀又轻又好用。
• With a few quick snips of the shears he pruned the bush.他用大剪刀几下子就把灌木给修剪好了。

314 slippers   

n. 拖鞋

参考例句：

• a pair of slippers 一双拖鞋
• He kicked his slippers off and dropped on to the bed. 他踢掉了拖鞋，倒在床上。

315 teeming   

adj.丰富的v.充满( teem的现在分词 )；到处都是；（指水、雨等）暴降；倾注

参考例句：

• The rain was teeming down. 大雨倾盆而下。
• the teeming streets of the city 熙熙攘攘的城市街道

316 folklore   

n.民间信仰，民间传说，民俗

参考例句：

• Zhuge Liang is a synonym for wisdom in folklore.诸葛亮在民间传说中成了智慧的代名词。
• In Chinese folklore the bat is an emblem of good fortune.在中国的民间传说中蝙蝠是好运的象征。

317 grasshoppers   

n.蚱蜢( grasshopper的名词复数 )；蝗虫；蚂蚱；（孩子）矮小的

参考例句：

• Grasshoppers die in fall. 蚱蜢在秋天死去。 来自《简明英汉词典》
• There are usually a lot of grasshoppers in the rice fields. 稻田里通常有许多蚱蜢。 来自辞典例句

318 watery   

adj.有水的，水汪汪的；湿的，湿润的

参考例句：

• In his watery eyes there is an expression of distrust.他那含泪的眼睛流露出惊惶失措的神情。
• Her eyes became watery because of the smoke.因为烟熏，她的双眼变得泪汪汪的。

319 lash   

v.系牢；鞭打；猛烈抨击；n.鞭打；眼睫毛

参考例句：

• He received a lash of her hand on his cheek.他突然被她打了一记耳光。
• With a lash of its tail the tiger leaped at her.老虎把尾巴一甩朝她扑过来。

320 gnat   

v.对小事斤斤计较，琐事

参考例句：

• Strain at a gnat and swallow a camel.小事拘谨，大事糊涂。
• He's always straining at a gnat.他总是对小事很拘谨。

321 makers   

n.制造者，制造商（maker的复数形式）

参考例句：

• The makers of the product assured us that there had been no sacrifice of quality. 这一产品的制造商向我们保证说他们没有牺牲质量。
• The makers are about to launch out a new product. 制造商们马上要生产一种新产品。 来自《简明英汉词典》

322 gallops   

（马等）奔驰，骑马奔驰( gallop的名词复数 )

参考例句：

• Let me turn the beautiful steed, gallops with you in the horizon. 让我变成美丽的骏马，和你驰骋在天涯。
• When Tao gallops through and Yang, all things come into and thrive. 当道驰骋在阴阳之中时，则万物生焉，万物兴焉。

323 conjecture   

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。

324 alleged   

a.被指控的，嫌疑的

参考例句：

• It was alleged that he had taken bribes while in office. 他被指称在任时收受贿赂。
• alleged irregularities in the election campaign 被指称竞选运动中的不正当行为

325 botanist   

n.植物学家

参考例句：

• The botanist introduced a new species of plant to the region.那位植物学家向该地区引入了一种新植物。
• I had never talked with a botanist before,and I found him fascinating.我从没有接触过植物学那一类的学者，我觉得他说话极有吸引力。

326 sarcastic   

adj.讥讽的，讽刺的，嘲弄的

参考例句：

• I squashed him with a sarcastic remark.我说了一句讽刺的话把他给镇住了。
• She poked fun at people's shortcomings with sarcastic remarks.她冷嘲热讽地拿别人的缺点开玩笑。

327 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

328 persistent   

adj.坚持不懈的，执意的；持续的

参考例句：

• Albert had a persistent headache that lasted for three days.艾伯特连续头痛了三天。
• She felt embarrassed by his persistent attentions.他不时地向她大献殷勤，使她很难为情。

329 incurred   

[医]招致的，遭受的； incur的过去式

参考例句：

• She had incurred the wrath of her father by marrying without his consent 她未经父亲同意就结婚，使父亲震怒。
• We will reimburse any expenses incurred. 我们将付还所有相关费用。

330 scurrilous   

adj.下流的，恶意诽谤的

参考例句：

• Scurrilous and untrue stories were being invented.有人正在捏造虚假诽谤的故事。
• She was often quite scurrilous in her references to me.她一提起我,常常骂骂咧咧的。

331 rumor   

n.谣言，谣传，传说

参考例句：

• The rumor has been traced back to a bad man.那谣言经追查是个坏人造的。
• The rumor has taken air.谣言流传开了。

332 authentic   

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。

333 sterling   

adj.英币的(纯粹的，货真价实的)；n.英国货币(英镑)

参考例句：

• Could you tell me the current rate for sterling, please?能否请您告诉我现行英国货币的兑换率？
• Sterling has recently been strong,which will help to abate inflationary pressures.英国货币最近非常坚挺，这有助于减轻通胀压力。

334 testimony   

n.证词；见证，证明

参考例句：

• The testimony given by him is dubious.他所作的证据是可疑的。
• He was called in to bear testimony to what the police officer said.他被传入为警官所说的话作证。

335 atrocities   

n.邪恶，暴行( atrocity的名词复数 )；滔天大罪

参考例句：

• They were guilty of the most barbarous and inhuman atrocities. 他们犯有最野蛮、最灭绝人性的残暴罪行。 来自《简明英汉词典》
• The enemy's atrocities made one boil with anger. 敌人的暴行令人发指。 来自《现代汉英综合大词典》

336 collaboration   

n.合作，协作；勾结

参考例句：

• The two companies are working in close collaboration each other.这两家公司密切合作。
• He was shot for collaboration with the enemy.他因通敌而被枪毙了。

337 conjectural   

adj.推测的

参考例句：

• There is something undeniably conjectural about such claims.这类声明中有些东西绝对是凭空臆测。
• As regarded its origin there were various explanations,all of which must necessarily have been conjectural.至于其来源，则有着种种解释，当然都是些臆测。

338 unevenness   

n. 不平坦，不平衡，不匀性

参考例句：

• This unevenness comes about because topics are developed in a logical order. 所以出现这种不平衡，是因为课题是按逻辑顺序展开的。
• I sanded the corners to take away any unevenness in the joints. 我用砂纸磨边边角角的地方，去除接头处的不均。

339 dedication   

n.奉献，献身，致力，题献，献辞

参考例句：

• We admire her courage,compassion and dedication.我们钦佩她的勇气、爱心和奉献精神。
• Her dedication to her work was admirable.她对工作的奉献精神可钦可佩。

340 applied   

adj.应用的；v.应用，适用

参考例句：

• She plans to take a course in applied linguistics.她打算学习应用语言学课程。
• This cream is best applied to the face at night.这种乳霜最好晚上擦脸用。

341 indirectly   

adv.间接地，不直接了当地

参考例句：

• I heard the news indirectly.这消息我是间接听来的。
• They were approached indirectly through an intermediary.通过一位中间人，他们进行了间接接触。

342 experimentation   

n.实验，试验，实验法

参考例句：

• Many people object to experimentation on animals.许多人反对用动物做实验。
• Study and analysis are likely to be far cheaper than experimentation.研究和分析的费用可能要比实验少得多。

343 fickle   

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。

344 sentimental   

adj.多愁善感的，感伤的

参考例句：

• She's a sentimental woman who believes marriage comes by destiny.她是多愁善感的人，她相信姻缘命中注定。
• We were deeply touched by the sentimental movie.我们深深被那感伤的电影所感动。

345 questionable   

adj.可疑的，有问题的

参考例句：

• There are still a few questionable points in the case.这个案件还有几个疑点。
• Your argument is based on a set of questionable assumptions.你的论证建立在一套有问题的假设上。

346 wrecked   

adj.失事的，遇难的

参考例句：

• the hulk of a wrecked ship 遇难轮船的残骸
• the salvage of the wrecked tanker 对失事油轮的打捞

347 shipwreck   

n.船舶失事，海难

参考例句：

• He walked away from the shipwreck.他船难中平安地脱险了。
• The shipwreck was a harrowing experience.那次船难是一个惨痛的经历。

348 irony   

n.反语，冷嘲；具有讽刺意味的事，嘲弄

参考例句：

• She said to him with slight irony.她略带嘲讽地对他说。
• In her voice we could sense a certain tinge of irony.从她的声音里我们可以感到某种讥讽的意味。

349 veneration   

n.尊敬，崇拜

参考例句：

• I acquired lasting respect for tradition and veneration for the past.我开始对传统和历史产生了持久的敬慕。
• My father venerated General Eisenhower.我父亲十分敬仰艾森豪威尔将军。

350 inscribed   

v.写，刻( inscribe的过去式和过去分词 )；内接

参考例句：

• His name was inscribed on the trophy. 他的名字刻在奖杯上。
• The names of the dead were inscribed on the wall. 死者的名字被刻在墙上。 来自《简明英汉词典》

351 amiable   

adj.和蔼可亲的，友善的，亲切的

参考例句：

• She was a very kind and amiable old woman.她是个善良和气的老太太。
• We have a very amiable companionship.我们之间存在一种友好的关系。

352 tithes   

n.（宗教捐税）什一税，什一的教区税，小部分( tithe的名词复数 )

参考例句：

• For your tithes and offerings, please use the envelopes at the entrance. 什一捐款及奉献：奉献信封摆放于入口处。 来自互联网
• Although she left the church officially, she still tithes. 虽然她正式离开了该教堂，但她仍然对教堂缴纳什一税。 来自互联网

353 authoritative   

adj.有权威的，可相信的；命令式的；官方的

参考例句：

• David speaks in an authoritative tone.大卫以命令的口吻说话。
• Her smile was warm but authoritative.她的笑容很和蔼，同时又透着威严。

354 exuberance   

n.丰富；繁荣

参考例句：

• Her burst of exuberance and her brightness overwhelmed me.她勃发的热情和阳光的性格征服了我。
• The sheer exuberance of the sculpture was exhilarating.那尊雕塑表现出的勃勃生机让人振奋。

355 maturity   

n.成熟；完成；(支票、债券等)到期

参考例句：

• These plants ought to reach maturity after five years.这些植物五年后就该长成了。
• This is the period at which the body attains maturity.这是身体发育成熟的时期。

356 serenity   

n.宁静，沉着，晴朗

参考例句：

• Her face,though sad,still evoked a feeling of serenity.她的脸色虽然悲伤，但仍使人感觉安详。
• She escaped to the comparative serenity of the kitchen.她逃到相对安静的厨房里。

357 rape   

n.抢夺，掠夺，强奸；vt.掠夺，抢夺，强奸

参考例句：

• The rape of the countryside had a profound ravage on them.对乡村的掠夺给他们造成严重创伤。
• He was brought to court and charged with rape.他被带到法庭并被指控犯有强奸罪。

358 fictional   

adj.小说的，虚构的

参考例句：

• The names of the shops are entirely fictional.那些商店的名字完全是虚构的。
• The two authors represent the opposite poles of fictional genius.这两位作者代表了天才小说家两个极端。

359 metropolitan   

adj.大城市的，大都会的

参考例句：

• Metropolitan buildings become taller than ever.大城市的建筑变得比以前更高。
• Metropolitan residents are used to fast rhythm.大都市的居民习惯于快节奏。

360 lyric   

n.抒情诗，歌词；adj.抒情的

参考例句：

• This is a good example of Shelley's lyric poetry.这首诗是雪莱抒情诗的范例。
• His earlier work announced a lyric talent of the first order.他的早期作品显露了一流的抒情才华。

361 dignified   

a.可敬的，高贵的

参考例句：

• Throughout his trial he maintained a dignified silence. 在整个审讯过程中，他始终沉默以保持尊严。
• He always strikes such a dignified pose before his girlfriend. 他总是在女友面前摆出这种庄严的姿态。

362 calamitous   

adj.灾难的，悲惨的；多灾多难；惨重

参考例句：

• We are exposed to the most calamitous accidents. 我们遭受着极大的灾难。 来自辞典例句
• Light reveals the subtle alteration of things, the sly or calamitous impermanence or mortal life. 事物的细微变动，人生的狡猾，倏忽无常，一一都在光中显露出来。 来自辞典例句

363 kinsmen   

n.家属，亲属( kinsman的名词复数 )

参考例句：

• Kinsmen are less kind than friends. 投亲不如访友。 来自《现代汉英综合大词典》
• One deeply grateful is better than kinsmen or firends. 受恩深处胜亲朋。 来自英汉 - 翻译样例 - 文学

364 anonymously   

ad.用匿名的方式

参考例句：

• The manuscripts were submitted anonymously. 原稿是匿名送交的。
• Methods A self-administered questionnaire was used to survey 536 teachers anonymously. 方法采用自编“中小学教师职业压力问卷”对536名中小学教师进行无记名调查。

365 wares   

n. 货物, 商品

参考例句：

• They sold their wares at half-price. 他们的货品是半价出售的。
• The peddler was crying up his wares. 小贩极力夸耀自己的货物。

366 frankly   

adv.坦白地，直率地；坦率地说

参考例句：

• To speak frankly, I don't like the idea at all.老实说，我一点也不赞成这个主意。
• Frankly speaking, I'm not opposed to reform.坦率地说，我不反对改革。

367 impersonal   

adj.无个人感情的，与个人无关的，非人称的

参考例句：

• Even his children found him strangely distant and impersonal.他的孩子们也认为他跟其他人很疏远，没有人情味。
• His manner seemed rather stiff and impersonal.他的态度似乎很生硬冷淡。

368 disdained   

鄙视( disdain的过去式和过去分词 )； 不屑于做，不愿意做

参考例句：

• I disdained to answer his rude remarks. 我不屑回答他的粗话。
• Jackie disdained the servants that her millions could buy. 杰姬鄙视那些她用钱就可以收买的奴仆。

369 criticise   

v.批评，评论；非难

参考例句：

• Right and left have much cause to criticise government.左翼和右翼有很多理由批评政府。
• It is not your place to criticise or suggest improvements!提出批评或给予改进建议并不是你的责任！

370 mingle   

vt.使混合，使相混；vi.混合起来；相交往

参考例句：

• If we mingle with the crowd,we should not be noticed.如果我们混在人群中，就不会被注意到。
• Oil will not mingle with water.油和水不相融。

371 habitually   

ad.习惯地，通常地

参考例句：

• The pain of the disease caused him habitually to furrow his brow. 病痛使他习惯性地紧皱眉头。
• Habitually obedient to John, I came up to his chair. 我已经习惯于服从约翰，我来到他的椅子跟前。

372 pervaded   

v.遍及，弥漫( pervade的过去式和过去分词 )

参考例句：

• A retrospective influence pervaded the whole performance. 怀旧的影响弥漫了整个演出。 来自《简明英汉词典》
• The air is pervaded by a smell [smoking]. 空气中弥散着一种气味[烟味]。 来自《现代英汉综合大词典》

373 patriotic   

adj.爱国的，有爱国心的

参考例句：

• His speech was full of patriotic sentiments.他的演说充满了爱国之情。
• The old man is a patriotic overseas Chinese.这位老人是一位爱国华侨。

374 wholesome   

adj.适合；卫生的；有益健康的；显示身心健康的

参考例句：

• In actual fact the things I like doing are mostly wholesome.实际上我喜欢做的事大都是有助于增进身体健康的。
• It is not wholesome to eat without washing your hands.不洗手吃饭是不卫生的。

375 sensational   

adj.使人感动的，非常好的，轰动的，耸人听闻的

参考例句：

• Papers of this kind are full of sensational news reports.这类报纸满是耸人听闻的新闻报道。
• Their performance was sensational.他们的演出妙极了。

376 catered   

提供饮食及服务( cater的过去式和过去分词 )； 满足需要，适合

参考例句：

• We catered for forty but only twenty came. 我们准备了40客饭菜，但只来了20个人。
• They catered for everyone regardless of social rank. 他们为所有人服务而不计较其社会地位。

377 licentious   

adj.放纵的，淫乱的

参考例句：

• She felt uncomfortable for his licentious act.她对他放肆的行为感到有点不舒服。
• The licentious monarch helped bring about his country's downfall.这昏君荒淫无道，加速了这个国家的灭亡。

378 immoral   

adj.不道德的，淫荡的，荒淫的，有伤风化的

参考例句：

• She was questioned about his immoral conduct toward her.她被询问过有关他对她的不道德行为的情况。
• It is my belief that nuclear weapons are immoral.我相信使核武器是不邪恶的。

379 frivolous   

adj.轻薄的；轻率的

参考例句：

• This is a frivolous way of attacking the problem.这是一种轻率敷衍的处理问题的方式。
• He spent a lot of his money on frivolous things.他在一些无聊的事上花了好多钱。

380 loathed   

v.憎恨，厌恶( loathe的过去式和过去分词 )；极不喜欢

参考例句：

• Baker loathed going to this red-haired young pup for supplies. 面包师傅不喜欢去这个红头发的自负的傻小子那里拿原料。 来自《简明英汉词典》
• Therefore, above all things else, he loathed his miserable self! 因此，他厌恶不幸的自我尤胜其它！ 来自英汉文学 - 红字

381 immorality   

n. 不道德, 无道义

参考例句：

• All the churchmen have preached against immorality. 所有牧师都讲道反对不道德的行为。
• Where the European sees immorality and lawlessness, strict law rules in reality. 在欧洲人视为不道德和无规则的地方，事实上都盛行着一种严格的规则。 来自英汉非文学 - 家庭、私有制和国家的起源

382 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

383 prominence   

n.突出；显著；杰出；重要

参考例句：

• He came to prominence during the World Cup in Italy.他在意大利的世界杯赛中声名鹊起。
• This young fashion designer is rising to prominence.这位年轻的时装设计师的声望越来越高。

384 eastward   

adv.向东；adj.向东的；n.东方，东部

参考例句：

• The river here tends eastward.这条河从这里向东流。
• The crowd is heading eastward,believing that they can find gold there.人群正在向东移去，他们认为在那里可以找到黄金。

385 duel   

n./v.决斗；(双方的)斗争

参考例句：

• The two teams are locked in a duel for first place.两个队为争夺第一名打得难解难分。
• Duroy was forced to challenge his disparager to duel.杜洛瓦不得不向诋毁他的人提出决斗。

386 precipitately   

adv.猛进地

参考例句：

• The number of civil wars continued to rise until about 1990 and then fell precipitately. 而国内战争的数量在1990年以前都有增加，1990年后则锐减。 来自互联网
• His wife and mistress, until an hour ago and inviolate were slipping precipitately from his control. 他的妻子和情妇，直到一小时前还是安安稳稳、不可侵犯的，现在却猛不防正从他的控制下溜走。 来自互联网

387 hatred   

n.憎恶，憎恨，仇恨

参考例句：

• He looked at me with hatred in his eyes.他以憎恨的眼光望着我。
• The old man was seized with burning hatred for the fascists.老人对法西斯主义者充满了仇恨。

388 retirement   

n.退休，退职

参考例句：

• She wanted to enjoy her retirement without being beset by financial worries.她想享受退休生活而不必为金钱担忧。
• I have to put everything away for my retirement.我必须把一切都积蓄起来以便退休后用。

389 mellowness   

成熟； 芳醇； 肥沃； 怡然

参考例句：

• I love these colours because they symbolize mellowness, abundance, strength and happiness. 我喜欢这秋色，因为它表示着成熟、昌盛和繁荣，也意味着愉快、欢乐和富强。 来自汉英文学 - 现代散文
• The mellowness of the cuckoo report the come of spring. 杜鹃甜美的叫声报告了春天的来临。

390 slab   

n.平板，厚的切片；v.切成厚板，以平板盖上

参考例句：

• This heavy slab of oak now stood between the bomb and Hitler.这时笨重的橡木厚板就横在炸弹和希特勒之间了。
• The monument consists of two vertical pillars supporting a horizontal slab.这座纪念碑由两根垂直的柱体构成，它们共同支撑着一块平板。

391 logic   

n.逻辑(学)；逻辑性

参考例句：

• What sort of logic is that?这是什么逻辑？
• I don't follow the logic of your argument.我不明白你的论点逻辑性何在。

392 whim   

n.一时的兴致，突然的念头；奇想，幻想

参考例句：

• I bought the encyclopedia on a whim.我凭一时的兴致买了这本百科全书。
• He had a sudden whim to go sailing today.今天他突然想要去航海。

393 revels   

n.作乐( revel的名词复数 )；狂欢；着迷；陶醉v.作乐( revel的第三人称单数 )；狂欢；着迷；陶醉

参考例句：

• Christmas revels with feasting and dancing were common in England. 圣诞节的狂欢歌舞在英国是很常见的。 来自《现代英汉综合大词典》
• Dickens openly revels in the book's rich physical detail and high-hearted conflict. 狄更斯对该书中丰富多彩的具体细节描写和勇敢的争斗公开表示欣赏。 来自辞典例句

394 satirizes   

v.讽刺，讥讽( satirize的第三人称单数 )

参考例句：

• This detestable custom satirizes humanity. 这个可厌的风俗违反人性。 来自辞典例句
• This idiom satirizes those who instead of taking changed circumstances account. “刻舟求剑”这个成语讽刺那些办事迂腐，不知道变通情况的人。 来自互联网

395 shrine   

n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣

参考例句：

• The shrine was an object of pilgrimage.这处圣地是人们朝圣的目的地。
• They bowed down before the shrine.他们在神龛前鞠躬示敬。

396 avarice   

n.贪婪；贪心

参考例句：

• Avarice is the bane to happiness.贪婪是损毁幸福的祸根。
• Their avarice knows no bounds and you can never satisfy them.他们贪得无厌，你永远无法满足他们。

397 infamous   

adj.声名狼藉的，臭名昭著的，邪恶的

参考例句：

• He was infamous for his anti-feminist attitudes.他因反对女性主义而声名狼藉。
• I was shocked by her infamous behaviour.她的无耻行径令我震惊。

398 quackery   

n.庸医的医术，骗子的行为

参考例句：

• Some scientists relegate parapsychology to the sphere of quackery. 一些科学家把灵学归类到骗术范围。 来自《简明英汉词典》
• In a famous play by Goethe, the doctor is accused of practicing quackery. 在歌德的一部著名剧目里，一名医生被指控进行庸医行骗。 来自互联网

399 gullibility   

n.易受骗，易上当，轻信

参考例句：

• Gullibility: Measure of speed of paper adhesive bonding and its strength. 胶粘性能：胶粘剂对纸品的粘合速度和强度的能力。 来自互联网
• Open-mindedness can often be treated as gullibility and therefore as a tool to manipulate people's beliefs. 思想开明容易像轻信一样被对待，因此会被用作一种操纵人们观念的工具。 来自互联网

400 peculiar   

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。

401 specimen   

n.样本，标本

参考例句：

• You'll need tweezers to hold up the specimen.你要用镊子来夹这标本。
• This specimen is richly variegated in colour.这件标本上有很多颜色。

402 remarkably   

ad.不同寻常地，相当地

参考例句：

• I thought she was remarkably restrained in the circumstances. 我认为她在那种情况下非常克制。
• He made a remarkably swift recovery. 他康复得相当快。

403 abounding   

adj.丰富的，大量的v.大量存在，充满，富于( abound的现在分词 )

参考例句：

• Ahead lay the scalloped ocean and the abounding blessed isles. 再往前是水波荡漾的海洋和星罗棋布的宝岛。 来自英汉文学 - 盖茨比
• The metallic curve of his sheep-crook shone silver-bright in the same abounding rays. 他那弯柄牧羊杖上的金属曲线也在这一片炽盛的火光下闪着银亮的光。 来自辞典例句

404 morose   

adj.脾气坏的，不高兴的

参考例句：

• He was silent and morose.他沉默寡言、郁郁寡欢。
• The publicity didn't make him morose or unhappy?公开以后，没有让他郁闷或者不开心吗？

405 mattresses   

褥垫，床垫( mattress的名词复数 )

参考例句：

• The straw mattresses are airing there. 草垫子正在那里晾着。
• The researchers tested more than 20 mattresses of various materials. 研究人员试验了二十多个不同材料的床垫。

406 distraction   

n.精神涣散，精神不集中，消遣，娱乐

参考例句：

• Total concentration is required with no distractions.要全神贯注，不能有丝毫分神。
• Their national distraction is going to the disco.他们的全民消遣就是去蹦迪。

407 trumpets   

喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花

参考例句：

• A wreath was laid on the monument to a fanfare of trumpets. 在响亮的号角声中花圈被献在纪念碑前。
• A fanfare of trumpets heralded the arrival of the King. 嘹亮的小号声宣告了国王驾到。

408 attic   

n.顶楼，屋顶室

参考例句：

• Leakiness in the roof caused a damp attic.屋漏使顶楼潮湿。
• What's to be done with all this stuff in the attic?顶楼上的材料怎么处理？

409 frantic   

adj.狂乱的，错乱的，激昂的

参考例句：

• I've had a frantic rush to get my work done.我急急忙忙地赶完工作。
• He made frantic dash for the departing train.他发疯似地冲向正开出的火车。

410 joint   

adj.联合的，共同的；n.关节，接合处；v.连接，贴合

参考例句：

• I had a bad fall,which put my shoulder out of joint.我重重地摔了一跤，肩膀脫臼了。
• We wrote a letter in joint names.我们联名写了封信。

411 Oxford   

n.牛津（英国城市）

参考例句：

• At present he has become a Professor of Chemistry at Oxford.他现在已是牛津大学的化学教授了。
• This is where the road to Oxford joins the road to London.这是去牛津的路与去伦敦的路的汇合处。

412 mermaid   

n.美人鱼

参考例句：

• How popular would that girl be with the only mermaid mom!和人鱼妈妈在一起，那个女孩会有多受欢迎！
• The little mermaid wasn't happy because she didn't want to wait.小美人鱼不太高兴，因为她等不及了。

413 jealousy   

n.妒忌，嫉妒，猜忌

参考例句：

• Some women have a disposition to jealousy.有些女人生性爱妒忌。
• I can't support your jealousy any longer.我再也无法忍受你的嫉妒了。

414 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

415 condemn   

vt.谴责，指责；宣判(罪犯)，判刑

参考例句：

• Some praise him,whereas others condemn him.有些人赞扬他，而有些人谴责他。
• We mustn't condemn him on mere suppositions.我们不可全凭臆测来指责他。

416 unnaturalness   

参考例句：

• The vale was wrapped in a dim atomosphere of unnaturalness. 峡谷沉浸在一种不自然的朦胧气氛里。 来自辞典例句

417 repulsive   

adj.排斥的，使人反感的

参考例句：

• She found the idea deeply repulsive.她发现这个想法很恶心。
• The repulsive force within the nucleus is enormous.核子内部的斥力是巨大的。

418 animated   

adj.生气勃勃的，活跃的，愉快的

参考例句：

• His observations gave rise to an animated and lively discussion.他的言论引起了一场气氛热烈而活跃的讨论。
• We had an animated discussion over current events last evening.昨天晚上我们热烈地讨论时事。

419 erratic   

adj.古怪的，反复无常的，不稳定的

参考例句：

• The old man had always been cranky and erratic.那老头儿性情古怪,反复无常。
• The erratic fluctuation of market prices is in consequence of unstable economy.经济波动致使市场物价忽起忽落。

420 pander   

v.迎合；n.拉皮条者，勾引者；帮人做坏事的人

参考例句：

• Don't pander to such people. 要迎合这样的人。
• Those novels pander to people's liking for stories about crime.那些小说迎合读者对犯罪故事的爱好。

421 tiresome   

adj.令人疲劳的，令人厌倦的

参考例句：

• His doubts and hesitations were tiresome.他的疑惑和犹豫令人厌烦。
• He was tiresome in contending for the value of his own labors.他老为他自己劳动的价值而争强斗胜，令人生厌。

422 thereby   

adv.因此，从而

参考例句：

• I have never been to that city,,ereby I don't know much about it.我从未去过那座城市，因此对它不怎么熟悉。
• He became a British citizen,thereby gaining the right to vote.他成了英国公民，因而得到了投票权。

423 contradictory   

adj.反驳的，反对的，抗辩的；n.正反对，矛盾对立

参考例句：

• The argument is internally contradictory.论据本身自相矛盾。
• What he said was self-contradictory.他讲话前后不符。

424 rugged   

adj.高低不平的，粗糙的，粗壮的，强健的

参考例句：

• Football players must be rugged.足球运动员必须健壮。
• The Rocky Mountains have rugged mountains and roads.落基山脉有崇山峻岭和崎岖不平的道路。

425 injustice   

n.非正义，不公正，不公平，侵犯（别人的）权利

参考例句：

• They complained of injustice in the way they had been treated.他们抱怨受到不公平的对待。
• All his life he has been struggling against injustice.他一生都在与不公正现象作斗争。

426 covetousness   

参考例句：

• As covetousness is the root of all evil, so poverty is the worst of all snares. 正如贪婪是万恶之源一样，贫穷是最坏的陷阱。 来自辞典例句
• Poverty want many thing, but covetousness all. 贫穷可满足；欲望却难填。 来自互联网

427 zeal   

n.热心，热情，热忱

参考例句：

• Revolutionary zeal caught them up,and they joined the army.革命热情激励他们，于是他们从军了。
• They worked with great zeal to finish the project.他们热情高涨地工作，以期完成这个项目。

428 penetrate   

v.透(渗)入；刺入，刺穿；洞察，了解

参考例句：

• Western ideas penetrate slowly through the East.西方观念逐渐传入东方。
• The sunshine could not penetrate where the trees were thickest.阳光不能透入树木最浓密的地方。

429 motives   

n.动机，目的( motive的名词复数 )

参考例句：

• to impeach sb's motives 怀疑某人的动机
• His motives are unclear. 他的用意不明。

430 delusion   

n.谬见，欺骗，幻觉，迷惑

参考例句：

• He is under the delusion that he is Napoleon.他患了妄想症，认为自己是拿破仑。
• I was under the delusion that he intended to marry me.我误认为他要娶我。

431 sophomore   

n.大学二年级生；adj.第二年的

参考例句：

• He is in his sophomore year.他在读二年级。
• I'm a college sophomore majoring in English.我是一名英语专业的大二学生。

432 diplomacy   

n.外交；外交手腕，交际手腕

参考例句：

• The talks have now gone into a stage of quiet diplomacy.会谈现在已经进入了“温和外交”阶段。
• This was done through the skill in diplomacy. 这是通过外交手腕才做到的。

433 lucrative   

adj.赚钱的，可获利的

参考例句：

• He decided to turn his hobby into a lucrative sideline.他决定把自己的爱好变成赚钱的副业。
• It was not a lucrative profession.那是一个没有多少油水的职业。

434 advancement   

n.前进，促进，提升

参考例句：

• His new contribution to the advancement of physiology was well appreciated.他对生理学发展的新贡献获得高度赞赏。
• The aim of a university should be the advancement of learning.大学的目标应是促进学术。

435 mazes   

迷宫( maze的名词复数 )； 纷繁复杂的规则； 复杂难懂的细节； 迷宫图

参考例句：

• The mazes of the dance were ecstatic. 跳舞那种错综曲折，叫人快乐得如登九天。
• For two hours did this singlehearted and simpleminded girl toil through the mazes of the forest. 这位心地单纯的傻姑娘在林间曲径中艰难地走了两个来小时。

436 investigation   

n.调查，调查研究

参考例句：

• In an investigation,a new fact became known, which told against him.在调查中新发现了一件对他不利的事实。
• He drew the conclusion by building on his own investigation.他根据自己的调查研究作出结论。

437 pacification   

n. 讲和，绥靖，平定

参考例句：

• Real pacification is hard to get in the Vietnamese countryside. 在越南的乡下真正的安宁是很难实现的。
• Real pacification is hard to get in the Vietnamese countryside(McGeorge Bundy) 在越南的乡下真正的安宁是很难实现的（麦乔治·邦迪）

438 attained   

（通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• She has attained the degree of Master of Arts. 她已获得文学硕士学位。
• Lu Hsun attained a high position in the republic of letters. 鲁迅在文坛上获得崇高的地位。

439 justified   

a.正当的，有理的

参考例句：

• She felt fully justified in asking for her money back. 她认为有充分的理由要求退款。
• The prisoner has certainly justified his claims by his actions. 那个囚犯确实已用自己的行动表明他的要求是正当的。

440 averted   

防止，避免( avert的过去式和过去分词 )； 转移

参考例句：

• A disaster was narrowly averted. 及时防止了一场灾难。
• Thanks to her skilful handling of the affair, the problem was averted. 多亏她对事情处理得巧妙，才避免了麻烦。

441 chancellor   

n.(英)大臣；法官；(德、奥)总理；大学校长

参考例句：

• They submitted their reports to the Chancellor yesterday.他们昨天向财政大臣递交了报告。
• He was regarded as the most successful Chancellor of modern times.他被认为是现代最成功的财政大臣。

442 affixed   

adj.[医]附着的，附着的v.附加( affix的过去式和过去分词 )；粘贴；加以；盖（印章）

参考例句：

• The label should be firmly affixed to the package. 这张标签应该牢牢地贴在包裹上。
• He affixed the sign to the wall. 他将标记贴到墙上。 来自《简明英汉词典》

443 gathering   

n.集会，聚会，聚集

参考例句：

• He called on Mr. White to speak at the gathering.他请怀特先生在集会上讲话。
• He is on the wing gathering material for his novels.他正忙于为他的小说收集资料。

444 adviser   

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。

445 bribes   

n.贿赂( bribe的名词复数 )；向（某人）行贿，贿赂v.贿赂( bribe的第三人称单数 )；向（某人）行贿，贿赂

参考例句：

• It was alleged that he had taken bribes while in office. 他被指称在任时收受贿赂。
• corrupt officials accepting bribes 接受贿赂的贪官污吏

446 corruption   

n.腐败，堕落，贪污

参考例句：

• The people asked the government to hit out against corruption and theft.人民要求政府严惩贪污盗窃。
• The old man reviled against corruption.那老人痛斥了贪污舞弊。

447 imprisoned   

下狱，监禁( imprison的过去式和过去分词 )

参考例句：

• He was imprisoned for two concurrent terms of 30 months and 18 months. 他被判处30个月和18个月的监禁，合并执行。
• They were imprisoned for possession of drugs. 他们因拥有毒品而被监禁。

448 imprisonment   

n.关押，监禁，坐牢

参考例句：

• His sentence was commuted from death to life imprisonment.他的判决由死刑减为无期徒刑。
• He was sentenced to one year's imprisonment for committing bigamy.他因为犯重婚罪被判入狱一年。

449 remitted   

v.免除（债务），宽恕( remit的过去式和过去分词 )；使某事缓和；寄回，传送

参考例句：

• She has had part of her sentence remitted. 她被免去部分刑期。 来自《简明英汉词典》
• The fever has remitted. 退烧了。 来自《现代英汉综合大词典》

450 appalling   

adj.骇人听闻的，令人震惊的，可怕的

参考例句：

• The search was hampered by appalling weather conditions.恶劣的天气妨碍了搜寻工作。
• Nothing can extenuate such appalling behaviour.这种骇人听闻的行径罪无可恕。

451 philosophic   

adj.哲学的，贤明的

参考例句：

• It was a most philosophic and jesuitical motorman.这是个十分善辩且狡猾的司机。
• The Irish are a philosophic as well as a practical race.爱尔兰人是既重实际又善于思想的民族。

452 philosophical   

adj.哲学家的，哲学上的，达观的

参考例句：

• The teacher couldn't answer the philosophical problem.老师不能解答这个哲学问题。
• She is very philosophical about her bad luck.她对自己的不幸看得很开。

453 preservative   

n.防腐剂；防腐料；保护料；预防药

参考例句：

• New timber should be treated with a preservative.新采的圆木应进行防腐处理。
• Salt is a common food preservative.盐是一种常用的食物防腐剂。

454 fowl   

n.家禽，鸡，禽肉

参考例句：

• Fowl is not part of a traditional brunch.禽肉不是传统的早午餐的一部分。
• Since my heart attack,I've eaten more fish and fowl and less red meat.自从我患了心脏病后，我就多吃鱼肉和禽肉，少吃红色肉类。

455 destined   

adj.命中注定的；(for)以…为目的地的

参考例句：

• It was destined that they would marry.他们结婚是缘分。
• The shipment is destined for America.这批货物将运往美国。

456 speculation   

n.思索，沉思；猜测；投机

参考例句：

• Her mind is occupied with speculation.她的头脑忙于思考。
• There is widespread speculation that he is going to resign.人们普遍推测他要辞职。

457 idols   

偶像( idol的名词复数 )； 受崇拜的人或物； 受到热爱和崇拜的人或物； 神像

参考例句：

• The genii will give evidence against those who have worshipped idols. 魔怪将提供证据来反对那些崇拜偶像的人。 来自英汉非文学 - 文明史
• Teenagers are very sequacious and they often emulate the behavior of their idols. 青少年非常盲从，经常模仿他们的偶像的行为。

458 peculiarities   

n. 特质, 特性, 怪癖, 古怪

参考例句：

• the cultural peculiarities of the English 英国人的文化特点
• He used to mimic speech peculiarities of another. 他过去总是模仿别人讲话的特点。

459 interrogate   

vt.讯问，审问，盘问

参考例句：

• The lawyer took a long time to interrogate the witness fully.律师花了很长时间仔细询问目击者。
• We will interrogate the two suspects separately.我们要对这两个嫌疑人单独进行审讯。

460 underlies   

v.位于或存在于（某物）之下( underlie的第三人称单数 )；构成…的基础（或起因），引起

参考例句：

• I think a lack of confidence underlies his manner. 我认为他表现出的态度是因为他缺乏信心。 来自《简明英汉词典》
• Try to figure out what feeling underlies your anger. 努力找出你的愤怒之下潜藏的情感。 来自辞典例句

461 phenomena   

n.现象

参考例句：

• Ade couldn't relate the phenomena with any theory he knew.艾德无法用他所知道的任何理论来解释这种现象。
• The object of these experiments was to find the connection,if any,between the two phenomena.这些实验的目的就是探索这两种现象之间的联系，如果存在着任何联系的话。

462 variance   

n.矛盾，不同

参考例句：

• The question of woman suffrage sets them at variance. 妇女参政的问题使他们发生争执。
• It is unnatural for brothers to be at variance. 兄弟之间不睦是不近人情的。

463 abounds   

v.大量存在，充满，富于( abound的第三人称单数 )

参考例句：

• The place abounds with fruit, especially pears and peaches. 此地盛产水果，尤以梨桃著称。 来自《现代汉英综合大词典》
• This country abounds with fruit. 这个国家盛产水果。 来自《现代汉英综合大词典》

464 fragrance   

n.芬芳，香味，香气

参考例句：

• The apple blossoms filled the air with their fragrance.苹果花使空气充满香味。
• The fragrance of lavender filled the room.房间里充满了薰衣草的香味。

465 ascend   

vi.渐渐上升，升高；vt.攀登，登上

参考例句：

• We watched the airplane ascend higher and higher.我们看着飞机逐渐升高。
• We ascend in the order of time and of development.我们按时间和发展顺序向上溯。

466 admiration   

n.钦佩，赞美，羡慕

参考例句：

• He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
• We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。

467 speculative   

adj.思索性的，暝想性的，推理的

参考例句：

• Much of our information is speculative.我们的许多信息是带推测性的。
• The report is highly speculative and should be ignored.那个报道推测的成分很大，不应理会。

468 terse   

adj.(说话，文笔)精炼的，简明的

参考例句：

• Her reply about the matter was terse.她对此事的答复简明扼要。
• The president issued a terse statement denying the charges.总统发表了一份简短的声明，否认那些指控。

469 pithy   

adj.(讲话或文章)简练的

参考例句：

• Many of them made a point of praising the film's pithy dialogue.他们中很多人特别赞扬了影片精炼的对白。
• His pithy comments knocked the bottom out of my argument.他精辟的评论驳倒了我的论点。

470 observatories   

n.天文台，气象台( observatory的名词复数 )

参考例句：

• John Heilbron, The Sun in the Church: Cathedrals as Solar Observatories, 3-23. 约翰．海耳布隆，《教会里的太阳：教堂即太阳观测台》，第3-23页。 来自互联网
• Meteorologists use satellites, land observatories and historical data to provide information about the weather. 气象学家使用卫星、上天文台和历史资料来提供有关天气的信息。 来自互联网

471 modification   

n.修改，改进，缓和，减轻

参考例句：

• The law,in its present form,is unjust;it needs modification.现行的法律是不公正的，它需要修改。
• The design requires considerable modification.这个设计需要作大的修改。

472 underlying   

adj.在下面的，含蓄的，潜在的

参考例句：

• The underlying theme of the novel is very serious.小说隐含的主题是十分严肃的。
• This word has its underlying meaning.这个单词有它潜在的含义。

473 controversy   

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。

474 perennial   

adj.终年的；长久的

参考例句：

• I wonder at her perennial youthfulness.我对她青春常驻感到惊讶。
• There's a perennial shortage of teachers with science qualifications.有理科教学资格的老师一直都很短缺。

475 inadequate   

adj.(for,to)不充足的，不适当的

参考例句：

• The supply is inadequate to meet the demand.供不应求。
• She was inadequate to the demands that were made on her.她还无力满足对她提出的各项要求。

476 monopolize   

v.垄断，独占，专营

参考例句：

• She tried to monopolize his time.她想独占他的时间。
• They are controlling so much cocoa that they are virtually monopolizing the market.他们控制了大量的可可粉，因此他们几乎垄断了整个市场。

477 superseding   

取代，接替( supersede的现在分词 )

参考例句：

• This mechanism has such functions as integrating relations, resolving contradictions, superseding the old, improving efficiency. 公务员流动机制具有整合关系、化解矛盾、新陈代谢、提高效能等功能。
• The issuance, revision, superseding, and withdrawal of all documents should be controlled by maintaining revision histories. 11所有文件的发放、修订、替换和收回应当通过保存修订历史来控制。

478 reverence   

n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬

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。
• We reverence tradition but will not be fettered by it.我们尊重传统，但不被传统所束缚。

479 bosom   

n.胸，胸部；胸怀；内心；adj.亲密的

参考例句：

• She drew a little book from her bosom.她从怀里取出一本小册子。
• A dark jealousy stirred in his bosom.他内心生出一阵恶毒的嫉妒。

480 homage   

n.尊敬，敬意，崇敬

参考例句：

• We pay homage to the genius of Shakespeare.我们对莎士比亚的天才表示敬仰。
• The soldiers swore to pay their homage to the Queen.士兵们宣誓效忠于女王陛下。

481 exempted   

使免除[豁免]( exempt的过去式和过去分词 )

参考例句：

• His bad eyesight exempted him from military service. 他因视力不好而免服兵役。
• Her illness exempted her from the examination. 她因病而免试。

482 adventurous   

adj.爱冒险的；惊心动魄的，惊险的，刺激的　

参考例句：

• I was filled with envy at their adventurous lifestyle.我很羨慕他们敢于冒险的生活方式。
• He was predestined to lead an adventurous life.他注定要过冒险的生活。

483 helping   

n.食物的一份&adj.帮助人的，辅助的

参考例句：

• The poor children regularly pony up for a second helping of my hamburger. 那些可怜的孩子们总是要求我把我的汉堡包再给他们一份。
• By doing this, they may at times be helping to restore competition. 这样一来, 他在某些时候,有助于竞争的加强。

484 galleons   

n.大型帆船( galleon的名词复数 )

参考例句：

• The larger galleons made in at once for Corunna. 那些较大的西班牙帆船立即进入科普尼亚。 来自互联网
• A hundred thousand disguises, all for ten Galleons! 千万张面孔，变化无穷，只卖十个加隆！ 来自互联网

485 solace   

n.安慰；v.使快乐；vt.安慰(物)，缓和

参考例句：

• They sought solace in religion from the harshness of their everyday lives.他们日常生活很艰难，就在宗教中寻求安慰。
• His acting career took a nosedive and he turned to drink for solace.演艺事业突然一落千丈，他便借酒浇愁。

486 colonization   

殖民地的开拓，殖民，殖民地化； 移殖

参考例句：

• Colonization took place during the Habsburg dynasty. 开拓殖民地在哈布斯堡王朝就进行过。
• These countries took part in the colonization of Africa. 这些国家参与非洲殖民地的开发。

487 credulous   

adj.轻信的，易信的

参考例句：

• You must be credulous if she fooled you with that story.连她那种话都能把你骗倒，你一定是太容易相信别人了。
• Credulous attitude will only make you take anything for granted.轻信的态度只会使你想当然。

488 hearsay   

n.谣传，风闻

参考例句：

• They started to piece the story together from hearsay.他们开始根据传闻把事情的经过一点点拼湊起来。
• You are only supposing this on hearsay.You have no proof.你只是根据传闻想像而已，并没有证据。

489 strenuously   

adv.奋发地，费力地

参考例句：

• The company has strenuously defended its decision to reduce the workforce. 公司竭力为其裁员的决定辩护。
• She denied the accusation with some warmth, ie strenuously, forcefully. 她有些激动，竭力否认这一指责。

490 eloquent   

adj.雄辩的，口才流利的；明白显示出的

参考例句：

• He was so eloquent that he cut down the finest orator.他能言善辩，胜过最好的演说家。
• These ruins are an eloquent reminder of the horrors of war.这些废墟形象地提醒人们不要忘记战争的恐怖。

491 martyrs   

n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情）

参考例句：

• the early Christian martyrs 早期基督教殉道者
• They paid their respects to the revolutionary martyrs. 他们向革命烈士致哀。 来自《现代汉英综合大词典》

492 grievance   

n.怨愤，气恼，委屈

参考例句：

• He will not easily forget his grievance.他不会轻易忘掉他的委屈。
• He had been nursing a grievance against his boss for months.几个月来他对老板一直心怀不满。

493 appreciation   

n.评价；欣赏；感谢；领会，理解；价格上涨

参考例句：

• I would like to express my appreciation and thanks to you all.我想对你们所有人表达我的感激和谢意。
• I'll be sending them a donation in appreciation of their help.我将送给他们一笔捐款以感谢他们的帮助。

494 diligent   

adj.勤勉的，勤奋的

参考例句：

• He is the more diligent of the two boys.他是这两个男孩中较用功的一个。
• She is diligent and keeps herself busy all the time.她真勤快，一会儿也不闲着。

495 sonorous   

adj.响亮的，回响的；adv.圆润低沉地；感人地；n.感人，堂皇

参考例句：

• The sonorous voice of the speaker echoed round the room.那位演讲人洪亮的声音在室内回荡。
• He has a deep sonorous voice.他的声音深沉而洪亮。

496 humble   

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。

497 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

• We should take some time to enjoy the sublime beauty of nature.我们应该花些时间去欣赏大自然的壮丽景象。
• Olympic games play as an important arena to exhibit the sublime idea.奥运会，就是展示此崇高理念的重要舞台。

498 heroism   

n.大无畏精神，英勇

参考例句：

• He received a medal for his heroism.他由于英勇而获得一枚奖章。
• Stories of his heroism resounded through the country.他的英雄故事传遍全国。

499 colonizing   

v.开拓殖民地，移民于殖民地( colonize的现在分词 )

参考例句：

• The art of colonizing is no exception to the rule. 殖民的芸术是� 有特例的。 来自互联网
• A Lesson for Other Colonizing Nations. 其它殖民国家学习的教训。 来自互联网

500 carrion   

n.腐肉

参考例句：

• A crow of bloodthirsty ants is attracted by the carrion.一群嗜血的蚂蚁被腐肉所吸引。
• Vultures usually feed on carrion or roadkill.兀鹫通常以腐肉和公路上的死伤动物为食。

501 remains   

n.剩余物，残留物；遗体，遗迹

参考例句：

• He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
• The remains of the meal were fed to the dog.残羹剩饭喂狗了。

502 impetus   

n.推动，促进，刺激；推动力

参考例句：

• This is the primary impetus behind the economic recovery.这是促使经济复苏的主要动力。
• Her speech gave an impetus to my ideas.她的讲话激发了我的思绪。

503 essentially   

adv.本质上，实质上，基本上

参考例句：

• Really great men are essentially modest.真正的伟人大都很谦虚。
• She is an essentially selfish person.她本质上是个自私自利的人。

504 permeated   

弥漫( permeate的过去式和过去分词 )； 遍布； 渗入； 渗透

参考例句：

• The smell of leather permeated the room. 屋子里弥漫着皮革的气味。
• His public speeches were permeated with hatred of injustice. 在他对民众的演说里，充满了对不公正的愤慨。

505 dominant   

adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因

参考例句：

• The British were formerly dominant in India.英国人从前统治印度。
• She was a dominant figure in the French film industry.她在法国电影界是个举足轻重的人物。

506 noted   

adj.著名的，知名的

参考例句：

• The local hotel is noted for its good table.当地的那家酒店以餐食精美而著称。
• Jim is noted for arriving late for work.吉姆上班迟到出了名。

507 manly   

adj.有男子气概的；adv.男子般地，果断地

参考例句：

• The boy walked with a confident manly stride.这男孩以自信的男人步伐行走。
• He set himself manly tasks and expected others to follow his example.他给自己定下了男子汉的任务，并希望别人效之。

508 lyrics   

n.歌词

参考例句：

• music and lyrics by Rodgers and Hart 由罗杰斯和哈特作词作曲
• The book contains lyrics and guitar tablatures for over 100 songs. 这本书有100多首歌的歌词和吉他奏法谱。

509 treasury   

n.宝库；国库，金库；文库

参考例句：

• The Treasury was opposed in principle to the proposals.财政部原则上反对这些提案。
• This book is a treasury of useful information.这本书是有价值的信息宝库。

510 specimens   

n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人

参考例句：

• Astronauts have brought back specimens of rock from the moon. 宇航员从月球带回了岩石标本。
• The traveler brought back some specimens of the rocks from the mountains. 那位旅行者从山上带回了一些岩石标本。 来自《简明英汉词典》

511 belles   

n.美女( belle的名词复数 )；最美的美女

参考例句：

• Every girl in Atlanta was knee deep in men,even the plainest girls were carrying on like belles. 亚特兰大的女孩子个个都有许多男人追求，就连最不出色的也像美人一样被男人紧紧缠住。 来自《简明英汉词典》
• Even lot of belles, remand me next the United States! 还要很多美女，然后把我送回美国！ 来自互联网

512 bibliography   

n.参考书目；(有关某一专题的)书目

参考例句：

• There is a useful bibliography at the end of each chapter.在每一章后附有一份有用的参考书目。
• The production of this bibliography is totally automated.这个目录的编制过程全是自动化的。

513 transcripts   

n.抄本（ transcript的名词复数 ）；转写本；文字本；副本

参考例句：

• Like mRNA, both tRNA and rRNA are transcripts of chromosomal DNA. tRNA及rRNA同mRNA一样，都是染色体DNA的转录产物。 来自辞典例句
• You can't take the transfer students'exam without your transcripts. 没有成绩证明书，你就不能参加转学考试。 来自辞典例句

514 forefathers   

n.祖先，先人；祖先，祖宗( forefather的名词复数 )；列祖列宗；前人

参考例句：

• They are the most precious cultural legacy our forefathers left. 它们是我们祖先留下来的最宝贵的文化遗产。 来自《简明英汉词典》
• All of us bristled at the lawyer's speech insulting our forefathers. 听到那个律师在讲演中污蔑我们的祖先，大家都气得怒发冲冠。 来自《简明英汉词典》

515 baker   

n.面包师

参考例句：

• The baker bakes his bread in the bakery.面包师在面包房内烤面包。
• The baker frosted the cake with a mixture of sugar and whites of eggs.面包师在蛋糕上撒了一层白糖和蛋清的混合料。

516 apocrypha   

n.伪经，伪书

参考例句：

• Although New Testament apocrypha go into these details,some quite extensively.尽管在新约的伪经进一步详细地写这些细节，一些还写得十分广阔。
• Esdras is the first two books of the old testament apocrypha.埃斯德拉斯是第一个关于旧约伪经的两本书。

517 lexicon   

n.字典，专门词汇

参考例句：

• Chocolate equals sin in most people's lexicon.巧克力在大多数人的字典里等同于罪恶。
• Silent earthquakes are only just beginning to enter the public lexicon.无声地震才刚开始要成为众所周知的语汇。

518 seamen   

n.海员

参考例句：

• Experienced seamen will advise you about sailing in this weather. 有经验的海员会告诉你在这种天气下的航行情况。
• In the storm, many seamen wished they were on shore. 在暴风雨中，许多海员想，要是他们在陆地上就好了。

519 briefly   

adv.简单地，简短地

参考例句：

• I want to touch briefly on another aspect of the problem.我想简单地谈一下这个问题的另一方面。
• He was kidnapped and briefly detained by a terrorist group.他被一个恐怖组织绑架并短暂拘禁。