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CHAPTER IX
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EIGHTEENTH-CENTURY LITERATURE (1700-1800)

I. AUGUSTAN OR CLASSIC AGE

History of the Period. The Revolution of 1688, which banished1 the last of the Stuart kings and called William of Orange to the throne, marks the end of the long struggle for political freedom in England. Thereafter the Englishman spent his tremendous energy, which his forbears had largely spent in fighting for freedom, in endless political discussions and in efforts to improve his government. In order to bring about reforms, votes were now necessary; and to get votes the people of England must be approached with ideas, facts, arguments, information. So the newspaper was born,[182] and literature in its widest sense, including the book, the newspaper, and the magazine, became the chief instrument of a nation's progress.

Social DevelopmentThe first half of the eighteenth century is remarkable3 for the rapid social development in England. Hitherto men had been more or less governed by the narrow, isolated4 standards of the Middle Ages, and when they differed they fell speedily to blows. Now for the first time they set themselves to the task of learning the art of living together, while still holding different opinions. In a single generation nearly two thousand public coffeehouses, each a center of sociability5, sprang up in London alone, and the number of private clubs is quite as astonishing.[183] This new social life had a marked effect in polishing men's words and manners. The typical Londoner of Queen Anne's day was still rude, and a little vulgar in his tastes; the city was still very filthy6, the streets unlighted and infested7 at night by bands of rowdies and "Mohawks"; but outwardly men sought to refine their manners according to prevailing9 standards; and to be elegant, to have "good form," was a man's first duty, whether he entered society or wrote literature. One can hardly read a book or poem of the age without feeling this superficial elegance10. Government still had its opposing Tory and Whig parties, and the Church was divided into Catholics, Anglicans, and Dissenters11; but the growing social life offset13 many antagonisms14, producing at least the outward impression of peace and unity15. Nearly every writer of the age busied himself with religion as well as with party politics, the scientist Newton as sincerely as the churchman Barrow, the philosophical16 Locke no less earnestly than the evangelical Wesley; but nearly all tempered their zeal17 with moderation, and argued from reason and Scripture18, or used delicate satire19 upon their opponents, instead of denouncing them as followers20 of Satan. There were exceptions, of course; but the general tendency of the age was toward toleration. Man had found himself in the long struggle for personal liberty; now he turned to the task of discovering his neighbor, of finding in Whig and Tory, in Catholic and Protestant, in Anglican and Dissenter12, the same general human characteristics that he found in himself. This good work was helped, moreover, by the spread of education and by the growth of the national spfrit, following the victories of Marlborough on the Continent. In the midst of heated argument it needed only a word--Gibraltar, Blenheim, Ramillies, Malplaquet--or a poem of victory written in a garret[184] to tell a patriotic22 people that under their many differences they were all alike Englishmen.

In the latter half of the century the political and social progress is almost bewildering. The modern form of cabinet government responsible to Parliament and the people had been established under George I; and in 1757 the cynical24 and corrupt25 practices of Walpole, premier26 of the first Tory cabinet, were replaced by the more enlightened policies of Pitt. Schools were established; clubs and coffeehouses increased; books and magazines multiplied until the press was the greatest visible power in England; the modern great dailies, the Chronicle, Post, and Times, began their career of public education. Religiously, all the churches of England felt the quickening power of that tremendous spiritual revival27 known as Methodism, under the preaching of Wesley and Whitefield. Outside her own borders three great men--Clive in India, Wolfe on the Plains of Abraham, Cook in Australia and the islands of the Pacific--were unfurling the banner of St. George over the untold28 wealth of new lands, and spreading the world-wide empire of the Anglo-Saxons.

An Age of ProseLiterary Characteristics. In every preceding age we have noted29 especially the poetical31 works, which constitute, according to Matthew Arnold, the glory of English literature. Now for the first time we must chronicle the triumph of English prose. A multitude of practical interests arising from the new social and political conditions demanded expression, not simply in books, but more especially in pamphlets, magazines, and newspapers. Poetry was inadequate32 for such a task; hence the development of prose, of the "unfettered word," as Dante calls it,--a development which astonishes us by its rapidity and excellence34. The graceful35 elegance of Addison's essays, the terse36 vigor37 of Swift's satires38, the artistic39 finish of Fielding's novels, the sonorous40 eloquence41 of Gibbon's history and of Burke's orations42,--these have no parallel in the poetry of the age. Indeed, poetry itself became prosaic43 in this respect, that it was used not for creative works of imagination, but for essays, for satire, for criticism,--for exactly the same practical ends as was prose. The poetry of the first half of the century, as typified in the work of Pope, is polished and witty44 enough, but artificial; it lacks fire, fine feeling, enthusiasm, the glow of the Elizabethan Age and the moral earnestness of Puritanism. In a word, it interests us as a study of life, rather than delights or inspires us by its appeal to the imagination. The variety and excellence of prose works, and the development of a serviceable prose style, which had been begun by Dryden, until it served to express clearly every human interest and emotion,--these are the chief literary glories of the eighteenth century.

SatireIn the literature of the preceding age we noted two marked tendencies,--the tendency to realism in subject-matter, and the tendency to polish and refinement46 of expression. Both these tendencies were continued in the Augustan Age, and are seen clearly in the poetry of Pope, who brought the couplet to perfection, and in the prose of Addison. A third tendency is shown in the prevalence of satire, resulting from the unfortunate union of politics with literature. We have already noted the power of the press in this age, and the perpetual strife47 of political parties. Nearly every writer of the first half of the century was used and rewarded by Whigs or Tories for satirizing48 their enemies and for advancing their special political interests. Pope was a marked exception, but he nevertheless followed the prose writers in using satire too largely in his poetry. Now satire--that is, a literary work which searches out the faults of men or institutions in order to hold them up to ridicule49--is at best a destructive kind of criticism. A satirist50 is like a laborer52 who clears away the ruins and rubbish of an old house before the architect and builders begin on a new and beautiful structure. The work may sometimes be necessary, but it rarely arouses our enthusiasm. While the satires of Pope, Swift, and Addison are doubtless the best in our language, we hardly place them with our great literature, which is always constructive53 in spirit; and we have the feeling that all these men were capable of better things than they ever wrote.

The Classic Age. The period we are studying is known to us by various names. It is often called the Age of Queen Anne; but, unlike Elizabeth, this "meekly54 stupid" queen had practically no influence upon our literature. The name Classic Age is more often heard; but in using it we should remember clearly these three different ways in which the word "classic" is applied55 to literature: (1) the term "classic" refers, in general, to writers of the highest rank in any nation. As used in our literature, it was first applied to the works of the great Greek and Roman writers, like Homer and Virgil; and any English book which followed the simple and noble method of these writers was said to have a classic style. Later the term was enlarged to cover the great literary works of other ancient nations; so that the Bible and the Avestas, as well as the Iliad and the Aeneid, are called classics. (2) Every national literature has at least one period in which an unusual number of great writers are producing books, and this is called the classic period of a nation's literature. Thus the reign56 of Augustus is the classic or golden age of Rome; the generation of Dante is the classic age of Italian literature; the age of Louis XIV is the French classic age; and the age of Queen Anne is often called the classic age of England. (3) The word "classic" acquired an entirely57 different meaning in the period we are studying; and we shall better understand this by reference to the preceding ages. The Elizabethan writers were led by patriotism58, by enthusiasm, and, in general, by romantic emotions. They wrote in a natural style, without regard to rules; and though they exaggerated and used too many words, their works are delightful59 because of their vigor and freshness and fine feeling. In the following age patriotism had largely disappeared from politics and enthusiasm from literature. Poets no longer wrote naturally, but artificially, with strange and fantastic verse forms to give effect, since fine feeling was wanting. And this is the general character of the poetry of the Puritan Age.[185] Gradually our writers rebelled against the exaggerations of both the natural and the fantastic style. They demanded that poetry should follow exact rules; and in this they were influenced by French writers, especially by Boileau and Rapin, who insisted on precise methods of writing poetry, and who professed60 to have discovered their rules in the classics of Horace and Aristotle. In our study of the Elizabethan drama we noted the good influence of the classic movement in insisting upon that beauty of form and definiteness of expression which characterize the dramas of Greece and Rome; and in the work of Dryden and his followers we see a revival of classicism in the effort to make English literature conform to rules established by the great writers of other nations. At first the results were excellent, especially in prose; but as the creative vigor of the Elizabethans was lacking in this age, writing by rule soon developed a kind of elegant formalism, which suggests the elaborate social code of the time. Just as a gentleman might not act naturally, but must follow exact rules in doffing61 his hat, or addressing a lady, or entering a room, or wearing a wig62, or offering his snuffbox to a friend, so our writers lost individuality and became formal and artificial. The general tendency of literature was to look at life critically, to emphasize intellect rather than imagination, the form rather than the content of a sentence. Writers strove to repress all emotion and enthusiasm, and to use only precise and elegant methods of expression. This is what is often meant by the "classicism" of the ages of Pope and Johnson. It refers to the critical, intellectual spirit of many writers, to the fine polish of their heroic couplets or the elegance of their prose, and not to any resemblance which their work bears to true classic literature. In a word, the classic movement had become pseudo-classic, i.e. a false or sham63 classicism; and the latter term is now often used to designate a considerable part of eighteenth-century literature.[186] To avoid this critical difficulty we have adopted the term Augustan Age, a name chosen by the writers themselves, who saw in Pope, Addison, Swift, Johnson, and Burke the modern parallels to Horace, Virgil, Cicero, and all that brilliant company who made Roman literature famous in the days of Augustus.

ALEXANDER POPE (1688-1744)

Pope is in many respects a unique figure. In the first place, he was for a generation "the poet" of a great nation. To be sure, poetry was limited in the early eighteenth century; there were few lyrics66, little or no love poetry, no epics67, no dramas or songs of nature worth considering; but in the narrow field of satiric69 and didactic verse Pope was the undisputed master. His influence completely dominated the poetry of his age, and many foreign writers, as well as the majority of English poets, looked to him as their model. Second, he was a remarkably70 clear and adequate reflection of the spirit of the age in which he lived. There is hardly an ideal, a belief, a doubt, a fashion, a whim71 of Queen Anne's time, that is not neatly72 expressed in his poetry. Third, he was the only important writer of that age who gave his whole life to letters. Swift was a clergyman and politician; Addison was secretary of state; other writers depended on patrons or politics or pensions for fame and a livelihood74; but Pope was independent, and had no profession but literature. And fourth, by the sheer force of his ambition he won his place, and held it, in spite of religious prejudice, and in the face of physical and temperamental obstacles that would have discouraged a stronger man. For Pope was deformed76 and sickly, dwarfish77 in soul and body. He knew little of the world of nature or of the world of the human heart. He was lacking, apparently79, in noble feeling, and instinctively80 chose a lie when the truth had manifestly more advantages. Yet this jealous, peevish81, waspish little man became the most famous poet of his age and the acknowledged leader of English literature. We record the fact with wonder and admiration82; but we do not attempt to explain it.

Life. Pope was born in London in 1688, the year of the Revolution. His parents were both Catholics, who presently removed from London and settled in Binfield, near Windsor, where the poet's childhood was passed. Partly because of an unfortunate prejudice against Catholics in the public schools, partly because of his own weakness and deformity, Pope received very little school education, but browsed83 for himself among English books and picked up a smattering of the classics. Very early he began to write poetry, and records the fact with his usual vanity:

    As yet a child, nor yet a fool to fame,
    I lisped in numbers, for the numbers came.

Being debarred by his religion from many desirable employments, he resolved to make literature his life work; and in this he resembled Dryden, who, he tells us, was his only master, though much of his work seems to depend on Boileau, the French poet and critic.[187] When only sixteen years old he had written his "Pastorals"; a few years later appeared his "Essay on Criticism," which made him famous. With the publication of the Rape84 of the Lock, in 1712, Pope's name was known and honored all over England, and this dwarf78 of twenty-four years, by the sheer force of his own ambition, had jumped to the foremost place in English letters. It was soon after this that Voltaire called him "the best poet of England and, at present, of all the world,"--which is about as near the truth as Voltaire generally gets in his numerous universal judgments86. For the next twelve years Pope was busy with poetry, especially with his translations of Homer; and his work was so successful financially that he bought a villa87 at Twickenham, on the Thames, and remained happily independent of wealthy patrons for a livelihood.

Led by his success, Pope returned to London and for a time endeavored to live the gay and dissolute life which was supposed to be suitable for a literary genius; but he was utterly88 unfitted for it, mentally and physically89, and soon retired90 to Twickenham. There he gave himself up to poetry, manufactured a little garden more artificial than his verses, and cultivated his friendship with Martha Blount, with whom for many years he spent a good part of each day, and who remained faithful to him to the end of his life. At Twickenham he wrote his Moral Epistles (poetical satires modeled after Horace) and revenged himself upon all his critics in the bitter abuse of the Dunciad. He died in 1744 and was buried at Twickenham, his religion preventing him from the honor, which was certainly his due, of a resting place in Westminster Abbey.

Works of Pope. For convenience we may separate Pope's work into three groups, corresponding to the early, middle, and later period of his life. In the first he wrote his "Pastorals," "Windsor Forest," "Messiah," "Essay on Criticism," "Eloise to Abelard," and the Rape of the Lock; in the second, his translations of Homer; in the third the Dunciad and the Epistles, the latter containing the famous "Essay on Man" and the "Epistle to Dr. Arbuthnot," which is in truth his "Apologia," and in which alone we see Pope's life from his own view point.

Essay on CriticismThe "Essay on Criticism" sums up the art of poetry as taught first by Horace, then by Boileau and the eighteenth-century classicists. Though written in heroic couplets, we hardly consider this as a poem but rather as a storehouse of critical maxims91. "For fools rush in where angels fear to tread"; "To err92 is human, to forgive divine"; "A little learning is a dangerous thing,"--these lines, and many more like them from the same source, have found their way into our common speech, and are used, without thinking of the author, whenever we need an apt quotation93.

Rape of the LockThe Rape of the Lock is a masterpiece of its kind, and comes nearer to being a "creation" than anything else that Pope has written. The occasion of the famous poem was trivial enough. A fop at the court of Queen Anne, one Lord Petre, snipped94 a lock of hair from the abundant curls of a pretty maid of honor named Arabella Fermor. The young lady resented it, and the two families were plunged95 into a quarrel which was the talk of London. Pope, being appealed to, seized the occasion to construct, not a ballad97, as the Cavaliers would have done, nor an epigram, as French poets love to do, but a long poem in which all the mannerisms of society are pictured in minutest detail and satirized98 with the most delicate wit. The first edition, consisting of two cantos, was published in 1712; and it is amazing now to read of the trivial character of London court life at the time when English soldiers were battling for a great continent in the French and Indian wars. Its instant success caused Pope to lengthen100 the poem by three more cantos; and in order to make a more perfect burlesque101 of an epic68 poem, he introduces gnomes102, sprites, sylphs, and salamanders,[188] instead of the gods of the great epics, with which his readers were familiar. The poem is modeled after two foreign satires: Boileau's Le Lutrin (reading desk), a satire on the French clergy73, who raised a huge quarrel over the location of a lectern; and La Secchia Rapita (stolen bucket), a famous Italian satire on the petty causes of the endless Italian wars. Pope, however, went far ahead of his masters in style and in delicacy103 of handling a mock-heroic theme, and during his lifetime the Rape of the Lock was considered as the greatest poem of its kind in all literature. The poem is still well worth reading; for as an expression of the artificial life of the age--of its cards, parties, toilettes, lapdogs, tea-drinking, snuff-taking, and idle vanities--it is as perfect in its way as Tamburlaine, which reflects the boundless105 ambition of the Elizabethans.

Pope's TranslationsThe fame of Pope's Iliad, which was financially the most successful of his books, was due to the fact that he interpreted Homer in the elegant, artificial language of his own age. Not only do his words follow literary fashions but even the Homeric characters lose their strength and become fashionable men of the court. So the criticism of the scholar Bentley was most appropriate when he said, "It is a pretty poem, Mr. Pope, but you must not call it Homer." Pope translated the entire Iliad and half of the Odyssey107; and the latter work was finished by two Cambridge scholars, Elijah Fenton and William Broome, who imitated the mechanical couplets so perfectly108 that it is difficult to distinguish their work from that of the greatest poet of the age. A single selection is given to show how, in the nobler passages, even Pope may faintly suggest the elemental grandeur109 of Homer:

    The troops exulting110 sat in order round,
    And beaming fires illumined all the ground.
    As when the moon, refulgent111 lamp of night,
    O'er Heaven's clear azure112 spreads her sacred light,
    When not a breath disturbs the deep serene113,
    And not a cloud o'ercasts the solemn scene;
    Around her throne the vivid planets roll,
    And stars unnumbered gild114 the glowing pole,
    O'er the dark trees a yellower verdure shed,
    And tip with silver every mountain's head.

Essay on ManThe "Essay" is the best known and the most quoted of all Pope's works. Except in form it is not poetry, and when one considers it as an essay and reduces it to plain prose, it is found to consist of numerous literary ornaments116 without any very solid structure of thought to rest upon. The purpose of the essay is, in Pope's words, to "vindicate117 the ways of God to Man"; and as there are no unanswered problems in Pope's philosophy, the vindication118 is perfectly accomplished119 in four poetical epistles, concerning man's relations to the universe, to himself, to society, and to happiness. The final result is summed up in a few well-known lines:

    All nature is but art, unknown to thee;
    All chance, direction which thou canst not see;
    All discord120, harmony not understood;
    All partial evil, universal good:
    And, spite of pride, in erring121 reason's spite,
    One truth is clear, whatever is, is right.

Like the "Essay on Criticism," the poem abounds122 in quotable lines, such as the following, which make the entire work well worth reading:

    Hope springs eternal in the human breast:
    Man never is, but always to be blest.
    Know then thyself, presume not God to scan;
    The proper study of Mankind is Man.
    The same ambition can destroy or save,
    And makes a patriot23 as it makes a knave124.
    Honor and shame from no condition rise;
    Act well your part, there all the honor lies.
        Vice45 is a monster of so frightful125 mien126,
    As, to be hated, needs but to be seen;
    Yet seen too oft, familiar with her face,
    We first endure, then pity, then embrace.
        Behold127 the child, by Nature's kindly128 law,
    Pleased with a rattle129, tickled130 with a straw:
    Some livelier plaything gives his youth delight,
    A little louder, but as empty quite:
    Scarfs, garters, gold, amuse his riper stage,
    And beads132 and prayer books are the toys of age:
    Pleased with this bauble133 still, as that before;
    Till tired he sleeps, and Life's poor play is o'er.[189]

Miscellaneous WorksThe Dunciad (i.e. the "Iliad of the Dunces") began originally as a controversy134 concerning Shakespeare, but turned out to be a coarse and revengeful satire upon all the literary men of the age who had aroused Pope's anger by their criticism or lack of appreciation135 of his genius. Though brilliantly written and immensely popular at one time, its present effect on the reader is to arouse a sense of pity that a man of such acknowledged power and position should abuse both by devoting his talents to personal spite and petty quarrels. Among the rest of his numerous works the reader will find Pope's estimate of himself best set forth136 in his "Epistle to Dr. Arbuthnot," and it will be well to close our study of this strange mixture of vanity and greatness with "The Universal Prayer," which shows at least that Pope had considered, and judged himself, and that all further judgment85 is consequently superfluous137.

JONATHAN SWIFT (1667-1745)

In each of Marlowe's tragedies we have the picture of a man dominated by a single passion, the lust138 of power for its own sake. In each we see that a powerful man without self-control is like a dangerous instrument in the hands of a child; and the tragedy ends in the destruction of the man by the ungoverned power which he possesses. The life of Swift is just such a living tragedy. He had the power of gaining wealth, like the hero of the Jew of Malta; yet he used it scornfully, and in sad irony139 left what remained to him of a large property to found a hospital for lunatics. By hard work he won enormous literary power, and used it to satirize99 our common humanity. He wrested140 political power from the hands of the Tories, and used it to insult the very men who had helped him, and who held his fate in their hands. By his dominant142 personality he exercised a curious power over women, and used it brutally144 to make them feel their inferiority. Being loved supremely146 by two good women, he brought sorrow and death to both, and endless misery147 to himself. So his power brought always tragedy in its wake. It is only when we remember his life of struggle and disappointment and bitterness that we can appreciate the personal quality in his satire, and perhaps find some sympathy for this greatest genius of all the Augustan writers.

Illustration: JONATHAN SWIFT
JONATHAN SWIFT

Life. Swift was born in Dublin, of English parents, in 1667. His father died before he was born; his mother was poor, and Swift, though proud as Lucifer, was compelled to accept aid from relatives, who gave it grudgingly149. At the Kilkenny school, and especially at Dublin University, he detested150 the curriculum, reading only what appealed to his own nature; but, since a degree was necessary to his success, he was compelled to accept it as a favor from the examiners, whom he despised in his heart. After graduation the only position open to him was with a distant relative, Sir William Temple, who gave him the position of private secretary largely on account of the unwelcome relationship.

Temple was a statesman and an excellent diplomatist; but he thought himself to be a great writer as well, and he entered into a literary controversy concerning the relative merits of the classics and modern literature. Swift's first notable work, The Battle of the Books, written at this time but not published, is a keen satire upon both parties in the controversy. The first touch of bitterness shows itself here; for Swift was in a galling151 position for a man of his pride, knowing his intellectual superiority to the man who employed him, and yet being looked upon as a servant and eating at the servants' table. Thus he spent ten of the best years of his life in the pretty Moor152 Park, Surrey, growing more bitter each year and steadily153 cursing his fate. Nevertheless he read and studied widely, and, after his position with Temple grew unbearable154, quarreled with his patron, took orders, and entered the Church of England. Some years later we find him settled in the little church of Laracor, Ireland,--a country which he disliked intensely, but whither he went because no other "living" was open to him.

In Ireland, faithful to his church duties, Swift labored155 to better the condition of the unhappy people around him. Never before had the poor of his parishes been so well cared for; but Swift chafed156 under his yoke157, growing more and more irritated as he saw small men advanced to large positions, while he remained unnoticed in a little country church,--largely because he was too proud and too blunt with those who might have advanced him. While at Laracor he finished his Tale of a Tub, a satire on the various churches of the day, which was published in London with the Battle of the Books in 1704. The work brought him into notice as the most powerful satirist of the age, and he soon gave up his church to enter the strife of party politics. The cheap pamphlet was then the most powerful political weapon known; and as Swift had no equal at pamphlet writing, he soon became a veritable dictator. For several years, especially from 1710 to 1713, Swift was one of the most important figures in London. The Whigs feared the lash159 of his satire; the Tories feared to lose his support. He was courted, flattered, cajoled on every side; but the use he made of his new power is sad to contemplate160. An unbearable arrogance161 took possession of him. Lords, statesmen, even ladies were compelled to sue for his favor and to apologize for every fancied slight to his egoism. It is at this time that he writes in his Journal to Stella:

Mr. Secretary told me the Duke of Buckingham had been talking much about me and desired my acquaintance. I answered it could not be, for he had not yet made sufficient advances; then Shrewsbury said he thought the Duke was not used to make advances. I said I could not help that, for I always expected advances in proportion to men's quality, and more from a Duke than any other man.

Illustration: TRINITY COLLEGE, DUBLIN
TRINITY COLLEGE, DUBLIN

Writing to the Duchess of Queensberry he says:

I am glad you know your duty; for it has been a known and established rule above twenty years in England that the first advances have been constantly made me by all ladies who aspire162 to my acquaintance, and the greater their quality the greater were their advances.

When the Tories went out of power Swift's position became uncertain. He expected and had probably been promised a bishopric in England, with a seat among the peers of the realm; but the Tories offered him instead the place of dean of St. Patrick's Cathedral in Dublin. It was galling to a man of his proud spirit; but after his merciless satire on religion, in The Tale of a Tub, any ecclesiastical position in England was rendered impossible. Dublin was the best he could get, and he accepted it bitterly, once more cursing the fate which he had brought upon himself.

With his return to Ireland begins the last act in the tragedy of his life. His best known literary work, Gulliver's Travels, was done here; but the bitterness of life grew slowly to insanity164, and a frightful personal sorrow, of which he never spoke165, reached its climax166 in the death of Esther Johnson, a beautiful young woman, who had loved Swift ever since the two had met in Temple's household, and to whom he had written his Journal to Stella. During the last years of his life a brain disease, of which he had shown frequent symptoms, fastened its terrible hold upon Swift, and he became by turns an idiot and a madman. He died in 1745, and when his will was opened it was found that he had left all his property to found St. Patrick's Asylum167 for lunatics and incurables168. It stands to-day as the most suggestive monument of his peculiar169 genius.

The Works of Swift. From Swift's life one can readily foresee the kind of literature he will produce. Taken together his works are a monstrous170 satire on humanity; and the spirit of that satire is shown clearly in a little incident of his first days in London. There was in the city at that time a certain astrologer named Partridge, who duped the public by calculating nativities from the stars, and by selling a yearly almanac predicting future events. Swift, who hated all shams171, wrote, with a great show of learning, his famous Bickerstaff Almanac, containing "Predictions for the Year 1708, as Determined172 by the Unerring Stars." As Swift rarely signed his name to any literary work, letting it stand or fall on its own merits, his burlesque appeared over the pseudonym173 of Isaac Bickerstaff, a name afterwards made famous by Steele in The Tatler. Among the predictions was the following:

My first prediction is but a trifle; yet I will mention it to show how ignorant those sottish pretenders to astrology are in their own concerns: it relates to Partridge the almanack maker175; I have consulted the star of his nativity by my own rules, and find he will infallibly die upon the 29th of March next, about eleven at night, of a raging fever; therefore I advise him to consider of it, and settle his affairs in time.

On March 30, the day after the prediction was to be fulfilled, there appeared in the newspapers a letter from a revenue officer giving the details of Partridge's death, with the doings of the bailiff and the coffin176 maker; and on the following morning appeared an elaborate "Elegy177 of Mr. Partridge." When poor Partridge, who suddenly found himself without customers, published a denial of the burial, Swift answered with an elaborate "Vindication of Isaac Bickerstaff," in which he proved by astrological rules that Partridge was dead, and that the man now in his place was an impostor trying to cheat the heirs out of their inheritance.

Character of Swift's SatireThis ferocious178 joke is suggestive of all Swift's satires. Against any case of hypocrisy179 or injustice180 he sets up a remedy of precisely181 the same kind, only more atrocious, and defends his plan with such seriousness that the satire overwhelms the reader with a sense of monstrous falsity. Thus his solemn "Argument to prove that the Abolishing of Christianity may be attended with Some Inconveniences" is such a frightful satire upon the abuses of Christianity by its professed followers that it is impossible for us to say whether Swift intended to point out needed reforms, or to satisfy his conscience,[190] or to perpetrate a joke on the Church, as he had done on poor Partridge. So also with his "Modest Proposal," concerning the children of Ireland, which sets up the proposition that poor Irish farmers ought to raise children as dainties, to be eaten, like roast pigs, on the tables of prosperous Englishmen. In this most characteristic work it is impossible to find Swift or his motive183. The injustice under which Ireland suffered, her perversity184 in raising large families to certain poverty, and the indifference185 of English politicians to her suffering and protests are all mercilessly portrayed187; but why? That is still the unanswered problem of Swift's life and writings.

Tale of a TubSwift's two greatest satires are his Tale of a Tub and Gulliver's Travels. The Tale began as a grim exposure of the alleged188 weaknesses of three principal forms of religious belief, Catholic, Lutheran, and Calvinist, as opposed to the Anglican; but it ended in a satire upon all science and philosophy.

Swift explains his whimsical title by the custom of mariners190 in throwing out a tub to a whale, in order to occupy the monster's attention and divert it from an attack upon the ship,--which only proves how little Swift knew of whales or sailors. But let that pass. His book is a tub thrown out to the enemies of Church and State to keep them occupied from further attacks or criticism; and the substance of the argument is that all churches, and indeed all religion and science and statesmanship, are arrant191 hypocrisy. The best known part of the book is the allegory of the old man who died and left a coat (which is Christian182 Truth) to each of his three sons, Peter, Martin, and Jack192, with minute directions for its care and use. These three names stand for Catholics, Lutherans, and Calvinists; and the way in which the sons evade193 their father's will and change the fashion of their garment is part of the bitter satire upon all religious sects194. Though it professes195 to defend the Anglican Church, that institution fares perhaps worse than the others; for nothing is left to her but a thin cloak of custom under which to hide her alleged hypocrisy.

Gulliver's TravelsIn Gulliver's Travels the satire grows more unbearable. Strangely enough, this book, upon which Swift's literary fame generally rests, was not written from any literary motive, but rather as an outlet196 for the author's own bitterness against fate and human society. It is still read with pleasure, as Robinson Crusoe is read, for the interesting adventures of the hero; and fortunately those who read it generally overlook its degrading influence and motive.

Gulliver's Travels records the pretended four voyages of one Lemuel Gulliver, and his adventures in four astounding197 countries. The first book tells of his voyage and shipwreck198 in Lilliput, where the inhabitants are about as tall as one's thumb, and all their acts and motives200 are on the same dwarfish scale. In the petty quarrels of these dwarfs201 we are supposed to see the littleness of humanity. The statesmen who obtain place and favor by cutting monkey capers202 on the tight rope before their sovereign, and the two great parties, the Littleendians and Bigendians, who plunge96 the country into civil war over the momentous203 question of whether an egg should be broken on its big or on its little end, are satires on the politics of Swift's own day and generation. The style is simple and convincing; the surprising situations and adventures are as absorbing as those of Defoe's masterpiece; and altogether it is the most interesting of Swift's satires.

On the second voyage Gulliver is abandoned in Brobdingnag, where the inhabitants are giants, and everything is done upon an enormous scale. The meanness of humanity seems all the more detestable in view of the greatness of these superior beings. When Gulliver tells about his own people, their ambitions and wars and conquests, the giants can only wonder that such great venom206 could exist in such little insects.

In the third voyage Gulliver continues his adventures in Laputa, and this is a satire upon all the scientists and philosophers. Laputa is a flying island, held up in the air by a loadstone; and all the professors of the famous academy at Lagado are of the same airy constitution. The philosopher who worked eight years to extract sunshine from cucumbers is typical of Swift's satiric treatment of all scientific problems. It is in this voyage that we hear of the Struldbrugs, a ghastly race of men who are doomed207 to live upon earth after losing hope and the desire for life. The picture is all the more terrible in view of the last years of Swift's own life, in which he was compelled to live on, a burden to himself and his friends.

In these three voyages the evident purpose is to strip off the veil of habit and custom, with which men deceive themselves, and show the crude vices208 of humanity as Swift fancies he sees them. In the fourth voyage the merciless satire is carried out to its logical conclusion. This brings us to the land of the Houyhnhnms, in which horses, superior and intelligent creatures, are the ruling animals. All our interest, however, is centered on the Yahoos, a frightful race, having the form and appearance of men, but living in unspeakable degradation209.

Miscellaneous WorksThe Journal to Stella, written chiefly in the years 1710-1713 for the benefit of Esther Johnson, is interesting to us for two reasons. It is, first, an excellent commentary on contemporary characters and political events, by one of the most powerful and original minds of the age; and second, in its love passages and purely210 personal descriptions it gives us the best picture we possess of Swift himself at the summit of his power and influence. As we read now its words of tenderness for the woman who loved him, and who brought almost the only ray of sunlight into his life, we can only wonder and be silent. Entirely different are his Drapier's Letters, a model of political harangue211 and of popular argument, which roused an unthinking English public and did much benefit to Ireland by preventing the politicians' plan of debasing the Irish coinage. Swift's poems, though vigorous and original (like Defoe's, of the same period), are generally satirical, often coarse, and seldom rise above doggerel212. Unlike his friend Addison, Swift saw, in the growing polish and decency213 of society, only a mask for hypocrisy; and he often used his verse to shock the new-born modesty214 by pointing out some native ugliness which his diseased mind discovered under every beautiful exterior215.

Character of Swift's ProseThat Swift is the most original writer of his time, and one of the greatest masters of English prose, is undeniable. Directness, vigor, simplicity216, mark every page. Among writers of that age he stands almost alone in his disdain217 of literary effects. Keeping his object steadily before him, he drives straight on to the end, with a convincing power that has never been surpassed in our language. Even in his most grotesque218 creations, the reader never loses the sense of reality, of being present as an eyewitness219 of the most impossible events, so powerful and convincing is Swift's prose. Defoe had the same power; but in writing Robinson Crusoe, for instance, his task was comparatively easy, since his hero and his adventures were both natural; while Swift gives reality to pygmies, giants, and the most impossible situations, as easily as if he were writing of facts. Notwithstanding these excellent qualities, the ordinary reader will do well to confine himself to Gulliver's Travels and a book of well-chosen selections. For, it must be confessed, the bulk of Swift's work is not wholesome220 reading. It is too terribly satiric and destructive; it emphasizes the faults and failings of humanity; and so runs counter to the general course of our literature, which from Cynewulf to Tennyson follows the Ideal, as Merlin followed the Gleam,[191] and is not satisfied till the hidden beauty of man's soul and the divine purpose of his struggle are manifest.

JOSEPH ADDISON (1672-1719)

In the pleasant art of living with one's fellows, Addison is easily a master. It is due to his perfect expression of that art, of that new social life which, as we have noted, was characteristic of the Age of Anne, that Addison occupies such a large place in the history of literature. Of less power and originality221 than Swift, he nevertheless wields223, and deserves to wield222, a more lasting224 influence. Swift is the storm, roaring against the ice and frost of the late spring of English life. Addison is the sunshine, which melts the ice and dries the mud and makes the earth thrill with light and hope. Like Swift, he despised shams, but unlike him, he never lost faith in humanity; and in all his satires there is a gentle kindliness225 which makes one think better of his fellow-men, even while he laughs at their little vanities.

Illustration: JOSEPH ADDISON
JOSEPH ADDISON

Addison's InfluenceTwo things Addison did for our literature which are of inestimable value. First, he overcame a certain corrupt tendency bequeathed by Restoration literature. It was the apparent aim of the low drama, and even of much of the poetry of that age, to make virtue226 ridiculous and vice attractive. Addison set himself squarely against this unworthy tendency. To strip off the mask of vice, to show its ugliness and deformity, but to reveal virtue in its own native loveliness,--that was Addison's purpose; and he succeeded so well that never, since his day, has our English literature seriously followed after false gods. As Macaulay says, "So effectually did he retort on vice the mockery which had recently been directed against virtue, that since his time the open violation229 of decency has always been considered amongst us a sure mark of a fool." And second, prompted and aided by the more original genius of his friend Steele, Addison seized upon the new social life of the clubs and made it the subject of endless pleasant essays upon types of men and manners. The Tatler and The Spectator are the beginning of the modern essay; and their studies of human character, as exemplified in Sir Roger de Coverley, are a preparation for the modern novel.

Life. Addison's life, like his writings, is in marked contrast to that of Swift. He was born in Milston, Wiltshire, in 1672. His father was a scholarly English clergyman, and all his life Addison followed naturally the quiet and cultured ways to which he was early accustomed. At the famous Charterhouse School, in London, and in his university life at Oxford230, he excelled in character and scholarship and became known as a writer of graceful verses. He had some intention, at one time, of entering the Church, but was easily persuaded by his friends to take up the government service instead. Unlike Swift, who abused his political superiors, Addison took the more tactful way of winning the friendship of men in large places. His lines to Dryden won that literary leader's instant favor, and one of his Latin poems, "The Peace of Ryswick" (1697), with its kindly appreciation of King William's statesmen, brought him into favorable political notice. It brought him also a pension of three hundred pounds a year, with a suggestion that he travel abroad and cultivate the art of diplomacy231; which he promptly232 did to his own great advantage.

From a literary view point the most interesting work of Addison's early life is his Account of the Greatest English Poets (1693), written while he was a fellow of Oxford University. One rubs his eyes to find Dryden lavishly233 praised, Spenser excused or patronized, while Shakespeare is not even mentioned. But Addison was writing under Boileau's "classic" rules; and the poet, like the age, was perhaps too artificial to appreciate natural genius.

While he was traveling abroad, the death of William and the loss of power by the Whigs suddenly stopped Addison's pension; necessity brought him home, and for a time he lived in poverty and obscurity. Then occurred the battle of Blenheim, and in the effort to find a poet to celebrate the event, Addison was brought to the Tories' attention. His poem, "The Campaign," celebrating the victory, took the country by storm. Instead of making the hero slay234 his thousands and ten thousands, like the old epic heroes, Addison had some sense of what is required in a modern general, and so made Marlborough direct the battle from the outside, comparing him to an angel riding on the whirlwind:

    'T was then great Marlbro's mighty235 soul was proved,
    That, in the shock of charging hosts unmoved,
    Amidst confusion, horror, and despair,
    Examined all the dreadful scenes of war;
    In peaceful thought the field of death surveyed,
    To fainting squadrons sent the timely aid,
    Inspired repulsed237 battalions238 to engage,
    And taught the doubtful battle where to rage.
    So when an angel by divine command
    With rising tempests shakes a guilty land,
    (Such as of late o'er pale Britannia past,)
    Calm and serene he drives the furious blast;
    And, pleased th' Almighty's orders to perform,
    Rides in the whirlwind, and directs the storm.

That one doubtful simile239 made Addison's fortune. Never before or since was a poet's mechanical work so well rewarded. It was called the finest thing ever written, and from that day Addison rose steadily in political favor and office. He became in turn Undersecretary, member of Parliament, Secretary for Ireland, and finally Secretary of State. Probably no other literary man, aided by his pen alone, ever rose so rapidly and so high in office.

The rest of Addison's life was divided between political duties and literature. His essays for the Tatler and Spectator, which we still cherish, were written between 1709 and 1714; but he won more literary fame by his classic tragedy Cato, which we have almost forgotten. In 1716 he married a widow, the Countess of Warwick, and went to live at her home, the famous Holland House. His married life lasted only three years, and was probably not a happy one. Certainly he never wrote of women except with gentle satire, and he became more and more a clubman, spending most of his time in the clubs and coffeehouses of London. Up to this time his life had been singularly peaceful; but his last years were shadowed by quarrels, first with Pope, then with Swift, and finally with his lifelong friend Steele. The first quarrel was on literary grounds, and was largely the result of Pope's jealousy240. The latter's venomous caricature of Addison as Atticus shows how he took his petty revenge on a great and good man who had been his friend. The other quarrels with Swift, and especially with his old friend Steele, were the unfortunate result of political differences, and show how impossible it is to mingle241 literary ideals with party politics. He died serenely242 in 1719. A brief description from Thackeray's English Humorists is his best epitaph:

A life prosperous and beautiful, a calm death; an immense fame and affection afterwards for his happy and spotless name.

The EssaysWorks of Addison. The most enduring of Addison's works are his famous Essays, collected from the Tatler and Spectator. We have spoken of him as a master of the art of gentle living, and these essays are a perpetual inducement to others to know and to practice the same fine art. To an age of fundamental coarseness and artificiality he came with a wholesome message of refinement and simplicity, much as Ruskin and Arnold spoke to a later age of materialism244; only Addison's success was greater than theirs because of his greater knowledge of life and his greater faith in men. He attacks all the little vanities and all the big vices of his time, not in Swift's terrible way, which makes us feel hopeless of humanity, but with a kindly ridicule and gentle humor which takes speedy improvement for granted. To read Swift's brutal143 "Letters to a Young Lady," and then to read Addison's "Dissection245 of a Beau's Head" and his "Dissection of a Coquette's Heart," is to know at once the secret of the latter's more enduring influence.

Three other results of these delightful essays are worthy227 of attention: first, they are the best picture we possess of the new social life of England, with its many new interests; second, they advanced the art of literary criticism to a much higher stage than it had ever before reached, and however much we differ from their judgment and their interpretation246 of such a man as Milton, they certainly led Englishmen to a better knowledge and appreciation of their own literature; and finally, in Ned Softly the literary dabbler247, Will Wimble the poor relation, Sir Andrew Freeport the merchant, Will Honeycomb the fop, and Sir Roger the country gentleman, they give us characters that live forever as part of that goodly company which extends from Chaucer's country parson to Kipling's Mulvaney. Addison and Steele not only introduced the modern essay, but in such characters as these they herald248 the dawn of the modern novel. Of all his essays the best known and loved are those which introduce us to Sir Roger de Coverley, the genial249 dictator of life and manners in the quiet English country.

Addison's StyleIn style these essays are remarkable as showing the growing perfection of the English language. Johnson says, "Whoever wishes to attain250 an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison." And again he says, "Give nights and days, sir, to the study of Addison if you mean to be a good writer, or, what is more worth, an honest man." That was good criticism for its day, and even at the present time critics are agreed that Addison's Essays are well worth reading once for their own sake, and many times for their influence in shaping a clear and graceful style of writing.

PoemsAddison's poems, which were enormously popular in his day, are now seldom read. His Cato, with its classic unities251 and lack of dramatic power, must be regarded as a failure, if we study it as tragedy; but it offers an excellent example of the rhetoric252 and fine sentiment which were then considered the essentials of good writing. The best scene from this tragedy is in the fifth act, where Cato soliloquizes, with Plato's Immortality253 of the Soul open in his hand, and a drawn255 sword on the table before him:

    It must be so--Plato, thou reason'st well!--
    Else whence this pleasing hope, this fond desire,
    This longing256 after immortality?
    Or whence this secret dread236, and inward horror,
    Of falling into nought257? why shrinks the soul
    Back on herself, and startles at destruction?
    'Tis the divinity that stirs within us;
    'Tis heaven itself, that points out an hereafter,
    And intimates eternity258 to man.

Many readers make frequent use of one portion of Addison's poetry without knowing to whom they are indebted. His devout259 nature found expression in many hymns260, a few of which are still used and loved in our churches. Many a congregation thrills, as Thackeray did, to the splendid sweep of his "God in Nature," beginning, "The spacious262 firmament263 on high." Almost as well known and loved are his "Traveler's Hymn261," and his "Continued Help," beginning, "When all thy mercies, O my God." The latter hymn--written in a storm at sea off the Italian coast, when the captain and crew were demoralized by terror--shows that poetry, especially a good hymn that one can sing in the same spirit as one would say his prayers, is sometimes the most practical and helpful thing in the world.

Richard Steele (1672-1729). Steele was in almost every respect the antithesis264 of his friend and fellow-worker,--a rollicking, good-hearted, emotional, lovable Irishman. At the Charterhouse School and at Oxford he shared everything with Addison, asking nothing but love in return. Unlike Addison, he studied but little, and left the university to enter the Horse Guards. He was in turn soldier, captain, poet, playwright265, essayist, member of Parliament, manager of a theater, publisher of a newspaper, and twenty other things,--all of which he began joyously266 and then abandoned, sometimes against his will, as when he was expelled from Parliament, and again because some other interest of the moment had more attraction. His poems and plays are now little known; but the reader who searches them out will find one or two suggestive things about Steele himself. For instance, he loves children; and he is one of the few writers of his time who show a sincere and unswerving respect for womanhood. Even more than Addison he ridicules267 vice and makes virtue lovely. He is the originator of the Tatler, and joins with Addison in creating the Spectator,--the two periodicals which, in the short space of less than four years, did more to influence subsequent literature than all other magazines of the century combined. Moreover, he is the original genius of Sir Roger, and of many other characters and essays for which Addison usually receives the whole credit. It is often impossible in the Tatler essays to separate the work of the two men; but the majority of critics hold that the more original parts, the characters, the thought, the overflowing268 kindliness, are largely Steele's creation; while to Addison fell the work of polishing and perfecting the essays, and of adding that touch of humor which made them the most welcome literary visitors that England had ever received.

The Tatler and The Spectator. On account of his talent in writing political pamphlets, Steele was awarded the position of official gazetteer269. While in this position, and writing for several small newspapers, the idea occurred to Steele to publish a paper which should contain not only the political news, but also the gossip of the clubs and coffeehouses, with some light essays on the life and manners of the age. The immediate270 result--for Steele never let an idea remain idle--was the famous Tatler, the first number of which appeared April 12, 1709. It was a small folio sheet, appearing on post days, three times a week, and it sold for a penny a copy. That it had a serious purpose is evident from this dedication271 to the first volume of collected Tatler essays:

The general purpose of this paper is to expose the false arts of life, to pull off the disguises of cunning, vanity, and affectation, and to recommend a general simplicity in our dress, our discourse273, and our behavior.

The success of this unheard-of combination of news, gossip, and essay was instantaneous. Not a club or a coffeehouse in London could afford to be without it, and over it's pages began the first general interest in contemporary English life as expressed in literature. Steele at first wrote the entire paper and signed his essays with the name of Isaac Bickerstaff, which had been made famous by Swift a few years before. Addison is said to have soon recognized one of his own remarks to Steele, and the secret of the Authorship was out. From that time Addison was a regular contributor, and occasionally other writers added essays on the new social life of England.[192]

Steele lost his position as gazetteer, and the Tatler was discontinued after less than two years' life, but not till it won an astonishing popularity and made ready the way for its successor. Two months later, on March 1, 1711, appeared the first number of the Spectator. In the new magazine politics and news, as such, were ignored; it was a literary magazine, pure and simple, and its entire contents consisted of a single light essay. It was considered a crazy venture at the time, but its instant success proved that men were eager for some literary expression of the new social ideals. The following whimsical letter to the editor may serve to indicate the part played by the Spectator in the daily life of London:

Mr. Spectator,--Your paper is a part of my tea equipage; and my servant knows my humor so well, that in calling for my breakfast this morning (it being past my usual hour) she answered, the Spectator was not yet come in, but the teakettle boiled, and she expected it every moment.

It is in the incomparable Spectator papers that Addison shows himself most "worthy to be remembered." He contributed the majority of its essays, and in its first number appears this description of the Spectator, by which name Addison is now generally known:

There is no place of general resort wherein I do not often make my appearance; sometimes I am seen thrusting my head into a round of politicians at Will's [Coffeehouse] and listening with great attention to the narratives276 that are made in those little circular audiences. Sometimes I smoke a pipe at Child's, and, whilst I seem attentive277 to nothing but The Postman, overhear the conversation of every table in the room. I appear on Sunday nights at St. James's, and sometimes join the little committee of politics in the inner room, as one who comes to hear and improve. My face is likewise very well known at the Grecian, the Cocoa Tree, and in the theaters both of Drury Lane and the Haymarket. I have been taken for a merchant upon the Exchange for above these ten years; and sometimes pass for a Jew in the assembly of stock jobbers278 at Jonathan's.... Thus I live in the world rather as a spectator of mankind than as one of the species,... which is the character I intend to preserve in this paper.

The large place which these two little magazines hold in our literature seems most disproportionate to their short span of days. In the short space of four years in which Addison and Steele worked together the light essay was established as one of the most important forms of modern literature, and the literary magazine won its place as the expression of the social life of a nation.

SAMUEL JOHNSON (1709-1784)

Illustration: Samuel Johnson
Samuel Johnson

The reader of Boswell's Johnson, after listening to endless grumblings and watching the clumsy actions of the hero, often finds himself wondering why he should end his reading with a profound respect for this "old bear" who is the object of Boswell's groveling attention. Here is a man who was certainly not the greatest writer of his age, perhaps not even a great writer at all, but who was nevertheless the dictator of English letters, and who still looms279 across the centuries of a magnificent literature as its most striking and original figure. Here, moreover, is a huge, fat, awkward man, of vulgar manners and appearance, who monopolizes280 conversation, argues violently, abuses everybody, clubs down opposition281,--"Madam" (speaking to his cultivated hostess at table), "talk no more nonsense"; "Sir" (turning to a distinguished282 guest), "I perceive you are a vile283 Whig." While talking he makes curious animal sounds, "sometimes giving a half whistle, sometimes clucking like a hen"; and when he has concluded a violent dispute and laid his opponents low by dogmatism or ridicule, he leans back to "blow out his breath like a whale" and gulp284 down numberless cups of hot tea. Yet this curious dictator of an elegant age was a veritable lion, much sought after by society; and around him in his own poor house gathered the foremost artists, scholars, actors, and literary men of London,--all honoring the man, loving him, and listening to his dogmatism as the Greeks listened to the voice of their oracle285.

What is the secret of this astounding spectacle? If the reader turns naturally to Johnson's works for an explanation, he will be disappointed. Reading his verses, we find nothing to delight or inspire us, but rather gloom and pessimism286, with a few moral observations in rimed couplets:

    But, scarce observed, the knowing and the bold
    Fall in the general massacre288 of gold;
    Wide-wasting pest! that rages unconfined,
    And crowds with crimes the records of mankind;
    For gold his sword the hireling ruffian draws,
    For gold the hireling judge distorts the laws;
    Wealth heaped on wealth nor truth nor safety buys;
    The dangers gather as the treasures rise.[193]

That is excellent common sense, but it is not poetry; and it is not necessary to hunt through Johnson's bulky volumes for the information, since any moralist can give us offhand289 the same doctrine290. As for his Rambler essays, once so successful, though we marvel291 at the big words, the carefully balanced sentences, the classical allusions292, one might as well try to get interested in an old-fashioned, three-hour sermon. We read a few pages listlessly, yawn, and go to bed.

Since the man's work fails to account for his leadership and influence, we examine his personality; and here everything is interesting. Because of a few oft-quoted passages from Boswell's biography, Johnson appears to us as an eccentric bear, who amuses us by his growlings and clumsy antics. But there is another Johnson, a brave, patient, kindly, religious soul, who, as Goldsmith said, had "nothing of the bear but his skin"; a man who battled like a hero against poverty and pain and melancholy294 and the awful fear of death, and who overcame them manfully. "That trouble passed away; so will this," sang the sorrowing Deor in the first old Anglo-Saxon lyric65; and that expresses the great and suffering spirit of Johnson, who in the face of enormous obstacles never lost faith in God or in himself. Though he was a reactionary295 in politics, upholding the arbitrary power of kings and opposing the growing liberty of the people, yet his political theories, like his manners, were no deeper than his skin; for in all London there was none more kind to the wretched, and none more ready to extend an open hand to every struggling man and woman who crossed his path. When he passed poor homeless Arabs sleeping in the streets he would slip a coin into their hands, in order that they might have a happy awakening297; for he himself knew well what it meant to be hungry. Such was Johnson,--a "mass of genuine manhood," as Carlyle called him, and as such, men loved and honored him.[194]

Life of Johnson. Johnson was born in Lichfield, Staffordshire, in 1709. He was the son of a small bookseller, a poor man, but intelligent and fond of literature, as booksellers invariably were in the good days when every town had its bookshop. From his childhood Johnson had to struggle against physical deformity and disease and the consequent disinclination to hard work. He prepared for the university, partly in the schools, but largely by omnivorous298 reading in his father's shop, and when he entered Oxford he had read more classical authors than had most of the graduates. Before finishing his course he had to leave the university on account of his poverty, and at once he began his long struggle as a hack243 writer to earn his living.

At twenty-five years he married a woman old enough to be his mother,--a genuine love match, he called it,--and with her dowry of £800 they started a private school together, which was a dismal299 failure. Then, without money or influential300 friends, he left his home and wife in Lichfield and tramped to London, accompanied only by David Garrick, afterwards the famous actor, who had been one of his pupils. Here, led by old associations, Johnson made himself known to the booksellers, and now and then earned a penny by writing prefaces, reviews, and translations.

It was a dog's life, indeed, that he led there with his literary brethren. Many of the writers of the day, who are ridiculed301 in Pope's heartless Dunciad, having no wealthy patrons to support them, lived largely in the streets and taverns303, sleeping on an ash heap or under a wharf304, like rats; glad of a crust, and happy over a single meal which enabled them to work for a while without the reminder305 of hunger. A few favored ones lived in wretched lodgings307 in Grub Street, which has since become a synonym308 for the fortunes of struggling writers.[195] Often, Johnson tells us, he walked the streets all night long, in dreary309 weather, when it was too cold to sleep, without food or shelter. But he wrote steadily for the booksellers and for the Gentleman's Magazine, and presently he became known in London and received enough work to earn a bare living.

The works which occasioned this small success were his poem, "London," and his Life of the Poet Savage310, a wretched life, at best, which were perhaps better left without a biographer. But his success was genuine, though small, and presently the booksellers of London are coming to him to ask him to write a dictionary of the English language. It was an enormous work, taking nearly eight years of his time, and long before he had finished it he had eaten up the money which he received for his labor51. In the leisure intervals311 of this work he wrote "The Vanity of Human Wishes" and other poems, and finished his classic tragedy of Irene.

Led by the great success of the Spectator, Johnson started two magazines, The Rambler (1750--1752) and The Idler (1758--1760). Later the Rambler essays were published in book form and ran rapidly through ten editions; but the financial returns were small, and Johnson spent a large part of his earnings312 in charity. When his mother died, in 1759, Johnson, although one of the best known men in London, had no money, and hurriedly finished Rasselas, his only romance, in order, it is said, to pay for his mother's burial.

It was not till 1762, when Johnson was fifty-three years old, that his literary labors313 were rewarded in the usual way by royalty314, and he received from George III a yearly pension of three hundred pounds. Then began a little sunshine in his life. With Joshua Reynolds, the artist, he founded the famous Literary Club, of which Burke, Pitt, Fox, Gibbon, Goldsmith, and indeed all the great literary men and politicians of the time, were members. This is the period of Johnson's famous conversations, which were caught in minutest detail by Boswell and given to the world. His idea of conversation, as shown in a hundred places in Boswell, is to overcome your adversary315 at any cost; to knock him down by arguments, or, when these fail, by personal ridicule; to dogmatize on every possible question, pronounce a few oracles316, and then desist with the air of victory. Concerning the philosopher Hume's view of death he says: "Sir, if he really thinks so, his perceptions are disturbed, he is mad. If he does not think so, he lies." Exit opposition. There is nothing more to be said. Curiously317 enough, it is often the palpable blunders of these monologues318 that now attract us, as if we were enjoying a good joke at the dictator's expense. Once a lady asked him, "Dr. Johnson, why did you define pastern as the knee of a horse?" "Ignorance, madame, pure ignorance," thundered the great authority.

When seventy years of age, Johnson was visited by several booksellers of the city, who were about to bring out a new edition of the English poets, and who wanted Johnson, as the leading literary man of London, to write the prefaces to the several volumes. The result was his Lives of the Poets, as it is now known, and this is his last literary work. He died in his poor Fleet Street house, in 1784, and was buried among England's honored poets in Westminster Abbey.

The English DictionaryJohnson's Works. "A book," says Dr. Johnson, "should help us either to enjoy life or to endure it." Judged by this standard, one is puzzled what to recommend among Johnson's numerous books. The two things which belong among the things "worthy to be remembered" are his Dictionary and his Lives of the Poets, though both these are valuable, not as literature, but rather as a study of literature. The Dictionary, as the first ambitious attempt at an English lexicon319, is extremely valuable, notwithstanding the fact that his derivations are often faulty, and that he frequently exercises his humor or prejudice in his curious definitions. In defining "oats," for example, as a grain given in England to horses and in Scotland to the people, he indulges his prejudice against the Scotch320, whom he never understood, just as, in his definition of "pension," he takes occasion to rap the writers who had flattered their patrons since the days of Elizabeth; though he afterwards accepted a comfortable pension for himself. With characteristic honesty he refused to alter his definition in subsequent editions of the Dictionary.

Lives of the PoetsThe Lives of the Poets are the simplest and most readable of his literary works. For ten years before beginning these biographies he had given himself up to conversation, and the ponderous321 style of his Rambler essays here gives way to a lighter322 and more natural expression. As criticisms they are often misleading, giving praise to artificial poets, like Cowley and Pope, and doing scant323 justice or abundant injustice to nobler poets like Gray and Milton; and they are not to be compared with those found in Thomas Warton's History of English Poetry, which was published in the same generation. As biographies, however, they are excellent reading, and we owe to them some of our best known pictures of the early English poets.

Poems and EssaysOf Johnson's poems the reader will have enough if he glance over "The Vanity of Human Wishes." His only story, Rasselas, Prince of Abyssinia, is a matter of rhetoric rather than of romance, but is interesting still to the reader who wants to hear Johnson's personal views of society, philosophy, and religion. Any one of his Essays, like that on "Reading," or "The Pernicious Effects of Revery," will be enough to acquaint the reader with the Johnsonese style, which was once much admired and copied by orators326, but which happily has been replaced by a more natural way of speaking. Most of his works, it must be confessed, are rather tiresome327. It is not to his books, but rather to the picture of the man himself, as given by Boswell, that Johnson owes his great place in our literature.

BOSWELL'S "LIFE OF JOHNSON"

In James Boswell (1740-1795) we have another extraordinary figure,--a shallow little Scotch barrister, who trots328 about like a dog at the heels of his big master, frantic329 at a caress330 and groveling at a cuff331, and abundantly contented332 if only he can be near him and record his oracles. All his life long Boswell's one ambition seems to have been to shine in the reflected glory of great men, and his chief task to record their sayings and doings. When he came to London, at twenty-two years of age, Johnson, then at the beginning of his great fame, was to this insatiable little glory-seeker like a Silver Doctor to a hungry trout333. He sought an introduction as a man seeks gold, haunted every place where Johnson declaimed, until in Davies's bookstore the supreme145 opportunity came. This is his record of the great event:

I was much agitated334 [says Boswell] and recollecting335 his prejudice against the Scotch, of which I had heard much, I said to Davies, "Don't tell him where I come from." "From Scotland," cried Davies roguishly. "Mr. Johnson," said I, "I do indeed come from Scotland, but I cannot help it."... "That, sir" [cried Johnson], "I find is what a very great many of your countrymen cannot help." This stroke stunned336 me a good deal; and when we had sat down I felt myself not a little embarrassed, and apprehensive337 of what might come next.

Then for several years, with a persistency338 that no rebuffs could abate339, and with a thick skin that no amount of ridicule could render sensitive, he follows Johnson; forces his way into the Literary Club, where he is not welcome, in order to be near his idol340; carries him off on a visit to the Hebrides; talks with him on every possible occasion; and, when he is not invited to a feast, waits outside the house or tavern302 in order to walk home with his master in the thick fog of the early morning. And the moment the oracle is out of sight and in bed, Boswell patters home to record in detail all that he has seen and heard. It is to his minute record that we owe our only perfect picture of a great man; all his vanity as well as his greatness, his prejudices, superstitions341, and even the details of his personal appearance:

There is the gigantic body, the huge face seamed with the scars of disease, the brown coat, the black worsted stockings, the gray wig with the scorched342 foretop, the dirty hands, the nails bitten and pared to the quick. We see the eyes and mouth moving with convulsive twitches343; we see the heavy form rolling; we hear it puffing344; and then comes the "Why, sir!" and the "What then, sir?" and the "No, sir!" and the "You don't see your way through the question, sir!"[196]

To Boswell's record we are indebted also for our knowledge of those famous conversations, those wordy, knockdown battles, which made Johnson famous in his time and which still move us to wonder. Here is a specimen345 conversation, taken almost at random346 from a hundred such in Boswell's incomparable biography. After listening to Johnson's prejudice against Scotland, and his dogmatic utterances347 on Voltaire, Robertson, and twenty others, an unfortunate theorist brings up a recent essay on the possible future life of brutes348, quoting some possible authority from the sacred scriptures349:

Johnson, who did not like to hear anything concerning a future state which was not authorized350 by the regular canons of orthodoxy, discouraged this talk; and being offended at its continuation, he watched an opportunity to give the gentleman a blow of reprehension351. So when the poor speculatist, with a serious, metaphysical, pensive352 face, addressed him, "But really, sir, when we see a very sensible dog, we don't know what to think of him"; Johnson, rolling with joy at the thought which beamed in his eye, turned quickly round and replied, "True, sir; and when we see a very foolish fellow, we don't know what to think of him." He then rose up, strided to the fire, and stood for some time laughing and exulting.

Then the oracle proceeds to talk of scorpions353 and natural history, denying facts, and demanding proofs which nobody could possibly furnish:

He seemed pleased to talk of natural philosophy. "That woodcocks," said he, "fly over the northern countries is proved, because they have been observed at sea. Swallows certainly sleep all the winter. A number of them conglobulate together by flying round and round, and then all in a heap throw themselves under water and lie in the bed of a river." He told us one of his first essays was a Latin poem upon the glowworm: I am sorry I did not ask where it was to be found.

Then follows an astonishing array of subjects and opinions. He catalogues libraries, settles affairs in China, pronounces judgment on men who marry women superior to themselves, flouts354 popular liberty, hammers Swift unmercifully, and adds a few miscellaneous oracles, most of which are about as reliable as his knowledge of the hibernation355 of swallows.

When I called upon Dr. Johnson next morning I found him highly satisfied with his colloquial356 prowess the preceding evening. "Well," said he, "we had good talk." "Yes, sir" [says I], "you tossed and gored357 several persons."

Far from resenting this curious mental dictatorship, his auditors358 never seem to weary. They hang upon his words, praise him, flatter him, repeat his judgments all over London the next day, and return in the evening hungry for more. Whenever the conversation begins to flag, Boswell is like a woman with a parrot, or like a man with a dancing bear. He must excite the creature, make him talk or dance for the edification of the company. He sidles obsequiously359 towards his hero and, with utter irrelevancy360, propounds361 a question of theology, a social theory, a fashion of dress or marriage, a philosophical conundrum362: "Do you think, sir, that natural affections are born with us?" or, "Sir, if you were shut up in a castle and a newborn babe with you, what would you do?" Then follow more Johnsonian laws, judgments, oracles; the insatiable audience clusters around him and applauds; while Boswell listens, with shining face, and presently goes home to write the wonder down. It is an astonishing spectacle; one does not know whether to laugh or grieve over it. But we know the man, and the audience, almost as well as if we had been there; and that, unconsciously, is the superb art of this matchless biographer.

When Johnson died the opportunity came for which Boswell had been watching and waiting some twenty years. He would shine in the world now, not by reflection, but by his own luminosity. He gathered together his endless notes and records, and began to write his biography; but he did not hurry. Several biographies of Johnson appeared, in the four years after his death, without disturbing Boswell's perfect complacency. After seven years' labor he gave the world his Life of Johnson. It is an immortal254 work; praise is superfluous; it must be read to be appreciated. Like the Greek sculptors363, the little slave produced a more enduring work than the great master. The man who reads it will know Johnson as he knows no other man who dwells across the border; and he will lack sensitiveness, indeed, if he lay down the work without a greater love and appreciation of all good literature.

Later Augustan Writers. With Johnson, who succeeded Dryden and Pope in the chief place of English letters, the classic movement had largely spent its force; and the latter half of the eighteenth century gives us an imposing364 array of writers who differ so widely that it is almost impossible to classify them. In general, three schools of writers are noticeable: first, the classicists, who, under Johnson's lead, insisted upon elegance and regularity365 of style; second, the romantic poets, like Collins, Gray, Thomson, and Burns, who revolted from Pope's artificial couplets and wrote of nature and the human heart[197]; third, the early novelists, like Defoe and Fielding, who introduced a new type of literature. The romantic poets and the novelists are reserved for special chapters; and of the other writers--Berkeley and Hume in philosophy; Robertson, Hume, and Gibbon in history; Chesterfield and Lady Montagu in letter writing; Adam Smith in economics; Pitt, Burke, Fox, and a score of lesser366 writers in politics--we select only two, Burke and Gibbon, whose works are most typical of the Augustan, i.e. the elegant, classic style of prose writing.

EDMUND BURKE (1729--1797)

To read all of Burke's collected works, and so to understand him thoroughly367, is something of a task. Few are equal to it. On the other hand, to read selections here and there, as most of us do, is to get a wrong idea of the man and to join either in fulsome368 praise of his brilliant oratory369, or in honest confession370 that his periods are ponderous and his ideas often buried under Johnsonian verbiage371. Such are the contrasts to be found on successive pages of Burke's twelve volumes, which cover the enormous range of the political and economic thought of the age, and which mingle fact and fancy, philosophy, statistics, and brilliant flights of the imagination, to a degree never before seen in English literature. For Burke belongs in spirit to the new romantic school, while in style he is a model for the formal classicists. We can only glance at the life of this marvelous Irishman, and then consider his place in our literature.

Life. Burke was born in Dublin, the son of an Irish barrister, in 1729. After his university course in Trinity College he came to London to study law, but soon gave up the idea to follow literature, which in turn led him to politics. He had the soul, the imagination of a poet, and the law was only a clog372 to his progress. His two first works, A Vindication of Natural Society and The Origin of our Ideas of the Sublime373 and the Beautiful, brought him political as well as literary recognition, and several small offices were in turn given to him. When thirty-six years old he was elected to Parliament as member from Wendover; and for the next thirty years he was the foremost figure in the House of Commons and the most eloquent374 orator325 which that body has ever known. Pure and incorruptible in his politics as in his personal life, no more learned or devoted375 servant of the Commonwealth376 ever pleaded for justice and human liberty. He was at the summit of his influence at the time when the colonies were struggling for independence; and the fact that he championed their cause in one of his greatest speeches, "On Conciliation377 with America," gives him an added interest in the eyes of American readers. His championship of America is all the more remarkable from the fact that, in other matters, Burke was far from liberal. He set himself squarely against the teachings of the romantic writers, who were enthusiastic over the French Revolution; he denounced the principles of the Revolutionists, broke with the liberal Whig party to join the Tories, and was largely instrumental in bringing on the terrible war with France, which resulted in the downfall of Napoleon.

It is good to remember that, in all the strife and bitterness of party politics, Burke held steadily to the noblest personal ideals of truth and honesty; and that in all his work, whether opposing the slave trade, or pleading for justice for America, or protecting the poor natives of India from the greed of corporations, or setting himself against the popular sympathy for France in her desperate struggle, he aimed solely378 at the welfare of humanity. When he retired on a pension in 1794, he had won, and he deserved, the gratitude379 and affection of the whole nation.

Works. There are three distinctly marked periods in Burke's career, and these correspond closely to the years in which he was busied with the affairs of America, India, and France successively. The first period was one of prophecy. He had studied the history and temper of the American colonies, and he warned England of the disaster which must follow her persistence380 in ignoring the American demands, and especially the American spirit. His great speeches, "On American Taxation381" and "On Conciliation with America," were delivered in 1774 and 1775, preceding the Declaration of Independence. In this period Burke's labor seemed all in vain; he lost his cause, and England her greatest colony.

Illustration: Edmund Burke--From an old print
Edmund Burke--From an old print

The second period is one of denunciation rather than of prophecy. England had won India; but when Burke studied the methods of her victory and understood the soulless way in which millions of poor natives were made to serve the interests of an English monopoly, his soul rose in revolt, and again he was the champion of an oppressed people. His two greatest speeches of this period are "The Nabob of Arcot's Debts" and his tremendous "Impeachment382 of Warren Hastings." Again he apparently lost his cause, though he was still fighting on the side of right. Hastings was acquitted383, and the spoliation of India went on; but the seeds of reform were sown, and grew and bore fruit long after Burke's labors were ended.

The third period is, curiously enough, one of reaction. Whether because the horrors of the French Revolution had frightened him with the danger of popular liberty, or because his own advance in office and power had made him side unconsciously with the upper classes, is unknown. That he was as sincere and noble now as in all his previous life is not questioned. He broke with the liberal Whigs and joined forces with the reactionary Tories. He opposed the romantic writers, who were on fire with enthusiasm over the French Revolution, and thundered against the dangers which the revolutionary spirit must breed, forgetting that it was a revolution which had made modern England possible. Here, where we must judge him to have been mistaken in his cause, he succeeded for the first time. It was due largely to Burke's influence that the growing sympathy for the French people was checked in England, and war was declared, which ended in the frightful victories of Trafalgar and Waterloo.

Burke's best known work of this period is his Reflections on the French Revolution, which he polished and revised again Essay on and again before it was finally printed. This ambitious literary essay, though it met with remarkable success, is a disappointment to the reader. Though of Celtic blood, Burke did not understand the French, or the principles for which the common people were fighting in their own way[198]; and his denunciations and apostrophes to France suggest a preacher without humor, hammering away at sinners who are not present in his congregation. The essay has few illuminating384 ideas, but a great deal of Johnsonian rhetoric, which make its periods tiresome, notwithstanding our admiration for the brilliancy of its author. More significant is one of Burke's first essays, A Philosophical Inquiry385 Into the Origin of Our Ideas of the Sublime and Beautiful, which is sometimes read in order to show the contrast in style with Addison's Spectator essays on the "Pleasures of the Imagination."

Burke's OrationsBurke's best known speeches, "On Conciliation with America," "American Taxation," and the "Impeachment of Warren Hastings," are still much studied in our schools as models of English prose; and this fact tends to give them an exaggerated literary importance. Viewed purely as literature, they have faults enough; and the first of these, so characteristic of the Classic Age, is that they abound123 in fine rhetoric but lack simplicity.[199] In a strict sense, these eloquent speeches are not literature, to delight the reader and to suggest ideas, but studies in rhetoric and in mental concentration. All this, however, is on the surface. A careful study of any of these three famous speeches reveals certain admirable qualities which account for the important place they are given in the study of English. First, as showing the stateliness and the rhetorical power of our language, these speeches are almost unrivaled. Second, though Burke speaks in prose, he is essentially386 a poet, whose imagery, like that of Milton's prose works, is more remarkable than that of many of our writers of verse. He speaks in figures, images, symbols; and the musical cadence387 of his sentences reflects the influence of his wide reading of poetry. Not only in figurative expression, but much more in spirit, he belongs with the poets of the revival. At times his language is pseudo-classic, reflecting the influence of Johnson and his school; but his thought is always romantic; he is governed by ideal rather than by practical interests, and a profound sympathy for humanity is perhaps his most marked characteristic.

Third, the supreme object of these orations, so different from the majority of political speeches, is not to win approval or to gain votes, but to establish the truth. Like our own Lincoln, Burke had a superb faith in the compelling power of the truth, a faith in men also, who, if the history of our race means anything, will not willingly follow a lie. The methods of these two great leaders are strikingly similar in this respect, that each repeats his idea in many ways, presenting the truth from different view points, so that it will appeal to men of widely different experiences. Otherwise the two men are in marked contrast. The uneducated Lincoln speaks in simple, homely388 words, draws his illustrations from the farm, and often adds a humorous story, so apt and "telling" that his hearers can never forget the point of his argument. The scholarly Burke speaks in ornate, majestic389 periods, and searches all history and all literature for his illustrations. His wealth of imagery and allusions, together with his rare combination of poetic30 and logical reasoning, make these orations remarkable, entirely apart from their subject and purpose.

Fourth (and perhaps most significant of the man and his work), Burke takes his stand squarely upon the principle of justice. He has studied history, and he finds that to establish justice, between man and man and between nation and nation, has been the supreme object of every reformer since the world began. No small or merely temporary success attracts him; only the truth will suffice for an argument; and nothing less than justice will ever settle a question permanently391. Such is his platform, simple as the Golden Rule, unshakable as the moral law. Hence, though he apparently fails of his immediate desire in each of these three orations, the principle for which he contends cannot fail. As a modern writer says of Lincoln, "The full, rich flood of his life through the nation's pulse is yet beating"; and his words are still potent392 in shaping the course of English politics in the way of justice.

EDWARD GIBBON (1737-1794)

To understand Burke or Johnson, one must read a multitude of books and be wary393 in his judgment; but with Gibbon the task is comparatively easy, for one has only to consider two books, his Memoirs395 and the first volume of his History, to understand the author. In his Memoirs we have an interesting reflection of Gibbon's own personality,--a man who looks with satisfaction on the material side of things, who seeks always the easiest path for himself, and avoids life's difficulties and responsibilities. "I sighed as a lover; but I obeyed as a son," he says, when, to save his inheritance, he gave up the woman he loved and came home to enjoy the paternal396 loaves and fishes. That is suggestive of the man's whole life. His History, on the other hand, is a remarkable work. It was the first in our language to be written on scientific principles, and with a solid basis of fact; and the style is the very climax of that classicism which had ruled England for an entire century. Its combination of historical fact and literary style makes The Decline and Fall of the Roman Empire the one thing of Gibbon's life that is "worthy to be remembered."

Gibbon's History. For many years Gibbon had meditated397, like Milton, upon an immortal work, and had tried several historical subjects, only to give them up idly. In his Journal he tells us how his vague resolutions were brought to a focus:

It was at Rome, on the fifteenth of October, 1764, as I sat musing398 amidst the ruins of the Capitol, while the barefooted friars were singing vespers in the Temple of Jupiter, that the idea of writing the decline and fall of the city first started to my mind.

Twelve years later, in 1776, Gibbon published the first volume of The Decline and Fall of the Roman Empire; and the enormous success of the work encouraged him to go on with the other five volumes, which were published at intervals during the next twelve years. The History begins with the reign of Trajan, in A.D. 98, and "builds a straight Roman road" through the confused histories of thirteen centuries, ending with the fall of the Byzantine Empire in 1453. The scope of the History is enormous. It includes not only the decline of the Roman Empire, but such movements as the descent of the northern barbarians399, the spread of Christianity, the reorganization of the European nations, the establishment of the great Eastern Empire, the rise of Mohammedanism, and the splendor400 of the Crusades. On the one hand it lacks philosophical insight, being satisfied with facts without comprehending the causes; and, as Gibbon seems lacking in ability to understand spiritual and religious movements, it is utterly inadequate in its treatment of the tremendous influence of Christianity. On the other hand, Gibbon's scholarship leaves little to criticise401; he read enormously, sifted403 his facts out of multitudes of books and records, and then marshaled them in the imposing array with which we have grown familiar. Moreover, he is singularly just and discriminating404 in the use of all documents and authorities at his command. Hence he has given us the first history in English that has borne successfully the test of modern research and scholarship.

The style of the work is as imposing as his great subject. Indeed, with almost any other subject the sonorous roll of his majestic sentences would be out of place. While it deserves all the adjectives that have been applied to it by enthusiastic admirers,--finished, elegant, splendid, rounded, massive, sonorous, copious405, elaborate, ornate, exhaustive,--it must be confessed, though one whispers the confession, that the style sometimes obscures our interest in the narrative275. As he sifted his facts from a multitude of sources, so he often hides them again in endless periods, and one must often sift402 them out again in order to be quite sure of even the simple facts. Another drawback is that Gibbon is hopelessly worldly in his point of view; he loves pageants406 and crowds rather than individuals, and he is lacking in enthusiasm and in spiritual insight. The result is so frankly407 material at times that one wonders if he is not reading of forces or machines, rather than of human beings. A little reading of his History here and there is an excellent thing, leaving one impressed with the elegant classical style and the scholarship; but a continued reading is very apt to leave us longing for simplicity, for naturalness, and, above all, for the glow of enthusiasm which makes the dead heroes live once more in the written pages.

This judgment, however, must not obscure the fact that the book had a remarkably large sale; and that this, of itself, is an evidence that multitudes of readers found it not only erudite, but readable and interesting.

II. THE REVIVAL OF ROMANTIC POETRY

        The old order changeth, yielding place to new;
        And God fulfills408 Himself in many ways,
        Lest one good custom should corrupt the world.
                                      Tennyson's "The Passing of Arthur."

The Meaning of Romanticism. While Dryden, Pope, and Johnson were successively the dictators of English letters, and while, under their leadership, the heroic couplet became the fashion of poetry, and literature in general became satiric or critical in spirit, and formal in expression, a new romantic movement quietly made its appearance. Thomson's The Seasons (1730) was the first noteworthy poem of the romantic revival; and the poems and the poets increased steadily in number and importance till, in the age of Wordsworth and Scott, the spirit of Romanticism dominated our literature more completely than Classicism had ever done. This romantic movement--which Victor Hugo calls "liberalism in literature"--is simply the expression of life as seen by imagination, rather than by prosaic "common sense," which was the central doctrine of English philosophy in the eighteenth century. It has six prominent characteristics which distinguish it from the so-called classic literature which we have just studied:

1. The romantic movement was marked, and is always marked, by a strong reaction and protest against the bondage409 of rule and custom, which, in science and theology, as well as in literature, generally tend to fetter33 the free human spirit.

2. Romanticism returned to nature and to plain humanity for its material, and so is in marked contrast to Classicism, which had confined itself largely to the clubs and drawing-rooms, and to the social and political life of London. Thomson's Seasons, whatever its defects, was a revelation of the natural wealth and beauty which, for nearly a century, had been hardly noticed by the great writers of England.

3. It brought again the dream of a golden age[200] in which the stern realities of life were forgotten and the ideals of youth were established as the only permanent realities. "For the dreamer lives forever, but the toiler410 dies in a day," expresses, perhaps, only the wild fancy of a modern poet; but, when we think of it seriously, the dreams and ideals of a people are cherished possessions long after their stone monuments have crumbled411 away and their battles are forgotten. The romantic movement emphasized these eternal ideals of youth, and appealed to the human heart as the classic elegance of Dryden and Pope could never do.

4. Romanticism was marked by intense human sympathy, and by a consequent understanding of the human heart. Not to intellect or to science does the heart unlock its treasures, but rather to the touch of a sympathetic nature; and things that are hidden from the wise and prudent412 are revealed unto children. Pope had no appreciable413 humanity; Swift's work is a frightful satire; Addison delighted polite society, but had no message for plain people; while even Johnson, with all his kindness, had no feeling for men in the mass, but supported Sir Robert Walpole in his policy of letting evils alone until forced by a revolution to take notice of humanity's appeal. With the romantic revival all this was changed. While Howard was working heroically for prison reform, and Wilberforce for the liberation of the slaves, Gray wrote his "short and simple annals of the poor," and Goldsmith his Deserted414 Village, and Cowper sang,

                                      My ear is pained,
    My soul is sick with every day's report
    Of wrong and outrage415 with which earth is filled.
    There is no flesh in man's obdurate416 heart,
    It does not feel for man.[201]

This sympathy for the poor, and this cry against oppression, grew stronger and stronger till it culminated417 in "Bobby" Burns, who, more than any other writer in any language, is the poet of the unlettered human heart.

5. The romantic movement was the expression of individual genius rather than of established rules. In consequence, the literature of the revival is as varied418 as the characters and moods of the different writers. When we read Pope, for instance, we have a general impression of sameness, as if all his polished poems were made in the same machine; but in the work of the best romanticists there is endless variety. To read them is like passing through a new village, meeting a score of different human types, and finding in each one something to love or to remember. Nature and the heart of man are as new as if we had never studied them. Hence, in reading the romanticists, who went to these sources for their material, we are seldom wearied but often surprised; and the surprise is like that of the sunrise, or the sea, which always offers some new beauty and stirs us deeply, as if we had never seen it before.

6. The romantic movement, while it followed its own genius, was not altogether unguided. Strictly419 speaking, there is no new movement either in history or in literature; each grows out of some good thing which has preceded it, and looks back with reverence420 to past masters. Spenser, Shakespeare, and Milton were the inspiration of the romantic revival; and we can hardly read a poem of the early romanticists without finding a suggestion of the influence of one of these great leaders.[202]

There are various other characteristics of Romanticism, but these six--the protest against the bondage of rules, the return to nature and the human heart, the interest in old sagas421 and medi?val romances as suggestive of a heroic age, the sympathy for the toilers of the world, the emphasis upon individual genius, and the return to Milton and the Elizabethans, instead of to Pope and Dryden, for literary models--are the most noticeable and the most interesting. Remembering them, we shall better appreciate the work of the following writers who, in varying degree, illustrate422 the revival of romantic poetry in the eighteenth century.

THOMAS GRAY (1716-1771)

    The curfew tolls423 the knell424 of parting day;
    The lowing herd425 wind slowly o'er the lea;
    The plowman homeward plods427 his weary way,
    And leaves the world to darkness and to me.
    Now fades the glimmering428 landscape on the sight,
    And all the air a solemn stillness holds,
    Save where the beetle429 wheels his droning flight,
    And drowsy430 tinklings lull431 the distant folds.

So begins "the best known poem in the English language," a poem full of the gentle melancholy which marks all early romantic poetry. It should be read entire, as a perfect model of its kind. Not even Milton's "Il Penseroso," which it strongly suggests, excels it in beauty and suggestiveness.

Life of Gray. The author of the famous "Elegy" is the most scholarly and well-balanced of all the early romantic poets. In his youth he was a weakling, the only one of twelve children who survived infancy432; and his unhappy childhood, the tyranny of his father, and the separation from his loved mother, gave to his whole life the stamp of melancholy which is noticeable in all his poems. At the famous Eton school and again at Cambridge, he seems to have followed his own scholarly tastes rather than the curriculum, and was shocked, like Gibbon, at the general idleness and aimlessness of university life. One happy result of his school life was his friendship for Horace Walpole, who took him abroad for a three years' tour of the Continent.

Illustration: THOMAS GRAY
THOMAS GRAY

No better index of the essential difference between the classical and the new romantic school can be imagined than that which is revealed in the letters of Gray and Addison, as they record their impressions of foreign travel. Thus, when Addison crossed the Alps, some twenty-five years before, in good weather, he wrote: "A very troublesome journey.... You cannot imagine how I am pleased with the sight of a plain." Gray crossed the Alps in the beginning of winter, "wrapped in muffs, hoods433 and masks of beaver434, fur boots, and bearskins," but wrote ecstatically, "Not a precipice435, not a torrent436, not a cliff but is pregnant with religion and poetry."

On his return to England, Gray lived for a short time at Stoke Poges, where he wrote his "Ode on Eton," and probably sketched437 his "Elegy," which, however, was not finished till 1750, eight years later. During the latter years of his shy and scholarly life he was Professor of Modern History and Languages at Cambridge, without any troublesome work of lecturing to students. Here he gave himself up to study and to poetry, varying his work by "prowlings" among the manuscripts of the new British Museum, and by his "Lilliputian" travels in England and Scotland. He died in his rooms at Pembroke College in 1771, and was buried in the little churchyard of Stoke Poges.

Illustration: CHURCH AT STOKE POGES
CHURCH AT STOKE POGES

Works of Gray. Gray's Letters, published in 1775, are excellent reading, and his Journal is still a model of natural description; but it is to a single small volume of poems that he owes his fame and his place in literature. These poems divide themselves naturally into three periods, in which we may trace the progress of Gray's emancipation438 from the classic rules which had so long governed English literature. In the first period he wrote several minor439 poems, of which the best are his "Hymn to Adversity" and the odes "To Spring" and "On a Distant Prospect440 of Eton College." These early poems reveal two suggestive things: first, the appearance of that melancholy which characterizes all the poetry of the period; and second, the study of nature, not for its own beauty or truth, but rather as a suitable background for the play of human emotions.

The second period shows the same tendencies more strongly developed. The "Elegy Written in a Country Churchyard" (1750), the most perfect poem of the age, belongs to this period. To read Milton's "Il Penseroso" and Gray's "Elegy" is to see the beginning and the perfection of that "literature of melancholy" which largely occupied English poets for more than a century. Two other well-known poems of this second period are the Pindaric odes, "The Progress of Poesy" and "The Bard441." The first is strongly suggestive of Dryden's "Alexander's Feast," but shows Milton's influence in a greater melody and variety of expression. "The Bard" is, in every way, more romantic and original. An old minstrel, the last of the Welsh singers, halts King Edward and his army in a wild mountain pass, and with fine poetic frenzy442 prophesies443 the terror and desolation which must ever follow the tyrant444. From its first line, "Ruin seize thee, ruthless King!" to the end, when the old bard plunges445 from his lofty crag and disappears in the river's flood, the poem thrills with the fire of an ancient and noble race of men. It breaks absolutely with the classical school and proclaims a literary declaration of independence.

In the third period Gray turns momentarily from his Welsh material and reveals a new field of romantic interest in two Norse poems, "The Fatal Sisters" and "The Descent of Odin" (1761). Gray translated his material from the Latin, and though these two poems lack much of the elemental strength and grandeur of the Norse sagas, they are remarkable for calling attention to the unused wealth of literary material that was hidden in Northern mythologv. To Gray and to Percy (who published his Northern Antiquities446 in 1770) is due in large measure the profound interest in the old Norse sagas which has continued to our own day.

Taken together, Gray's works form a most interesting commentary on the varied life of the eighteenth century. He was a scholar, familiar with all the intellectual interests of his age, and his work has much of the precision and polish of the classical school; but he shares also the reawakened interest in nature, in common man, and in medi?val culture, and his work is generally romantic both in style and in spirit. The same conflict between the classic and romantic schools, and the triumph of Romanticism, is shown clearly in the most versatile448 of Gray's contemporaries, Oliver Goldsmith.

OLIVER GOLDSMITH (1728-1774)

Illustration: OLIVER GOLDSMITH
OLIVER GOLDSMITH

Because The Deserted Village is one of the most familiar poems in our language, Goldsmith is generally given a high place among the poets of the romantic dawn. But the Village, when we read it carefully, turns out to be a rimed essay in the style of Pope's famous Essay on Man; it owes its popularity to the sympathetic memories which it awakens449, rather than to its poetic excellence. It is as a prose writer that Goldsmith excels. He is an essayist, with Addison's fine polish but with more sympathy for human life; he is a dramatist, one of the very few who have ever written a comedy that can keep its popularity unchanged while a century rolls over its head; but greater, perhaps, than the poet and essayist and dramatist is Goldsmith the novelist, who set himself to the important work of purifying the early novel of its brutal and indecent tendencies, and who has given us, in The Vicar of Wakefield, one of the most enduring characters in English fiction. In his manner, especially in his poetry, Goldsmith was too much influenced by his friend Johnson and the classicists; but in his matter, in his sympathy for nature and human life, he belongs unmistakably to the new romantic school. Altogether he is the most versatile, the most charming, the most inconsistent, and the most lovable genius of all the literary men who made famous the age of Johnson.

Life. Goldsmith's career is that of an irresponsible, unbalanced genius, which would make one despair if the man himself did not remain so lovable in all his inconsistencies. He was born in the village of Pallas, Ireland, the son of a poor Irish curate whose noble character is portrayed in Dr. Primrose450, of The Vicar of Wakefield, and in the country parson of The Deserted Village. After an unsatisfactory course in various schools, where he was regarded as hopelessly stupid, Goldsmith entered Trinity College, Dublin, as a sizar, i.e. a student who pays with labor for his tuition. By his escapades he was brought into disfavor with the authorities, but that troubled him little. He was also wretchedly poor, which troubled him less; for when he earned a few shillings by writing ballads451 for street singers, his money went oftener to idle beggars than to the paying of his honest debts. After three years of university life he ran away, in dime452-novel fashion, and nearly starved to death before he was found and brought back in disgrace. Then he worked a little, and obtained his degree in 1749.

Strange that such an idle and irresponsible youth should have been urged by his family to take holy orders; but such was the fact. For two years more Goldsmith labored with theology, only to be rejected when he presented himself as a candidate for the ministry453. He tried teaching, and failed. Then his fancy turned to America, and, provided with money and a good horse, he started off for Cork454, where he was to embark455 for the New World. He loafed along the pleasant Irish ways, missed his ship, and presently turned up cheerfully amongst his relatives, minus all his money, and riding a sorry nag205 called Fiddleback, for which he had traded his own on the way.[203] He borrowed fifty pounds more, and started for London to study law, but speedily lost his money at cards, and again appeared, amiable456 and irresponsible as ever, among his despairing relatives. The next year they sent him to Edinburgh to study medicine. Here for a couple of years he became popular as a singer of songs and a teller457 of tales, to whom medicine was only a troublesome affliction. Suddenly the Wanderlust seized him and he started abroad, ostensibly to complete his medical education, but in reality to wander like a cheerful beggar over Europe, singing and playing his flute458 for food and lodging306. He may have studied a little at Leyden and at Padua, but that was only incidental. After a year or more of vagabondage he returned to London with an alleged medical degree, said to have been obtained at Louvain or Padua.

The next few years are a pitiful struggle to make a living as tutor, apothecary's assistant, comedian459, usher460 in a country school, and finally as a physician in Southwark. Gradually he drifted into literature, and lived from hand to mouth by doing hack work for the London booksellers. Some of his essays and his Citizen of the World (1760-1761) brought him to the attention of Johnson, who looked him up, was attracted first by his poverty and then by his genius, and presently declared him to be "one of the first men we now have as an author." Johnson's friendship proved invaluable461, and presently Goldsmith found himself a member of the exclusive Literary Club. He promptly justified462 Johnson's confidence by publishing The Traveller (1764), which was hailed as one of the finest poems of the century. Money now came to him liberally, with orders from the booksellers; he took new quarters in Fleet Street and furnished them gorgeously; but he had an inordinate463 vanity for bright-colored clothes, and faster than he earned money he spent it on velvet464 cloaks and in indiscriminate charity. For a time he resumed his practice as a physician, but his fine clothes did not bring patients, as he expected; and presently he turned to writing again, to pay his debts to the booksellers. He produced several superficial and grossly inaccurate465 schoolbooks,--like his Animated466 Nature and his histories of England, Greece, and Rome,--which brought him bread and more fine clothes, and his Vicar of Wakefield, The Deserted Village, and She Stoops to Conquer, which brought him undying fame.

After meeting with Johnson, Goldsmith became the object of Boswell's magpie467 curiosity; and to Boswell's Life of Johnson we are indebted for many of the details of Goldsmith's life,--his homeliness468, his awkward ways, his drolleries and absurdities469, which made him alternately the butt470 and the wit of the famous Literary Club. Boswell disliked Goldsmith, and so draws an unflattering Portrait, but even this does not disguise the contagious471 good humor which made men love him. When in his forty-seventh year, he fell sick of a fever, and with childish confidence turned to a quack472 medicine to cure himself. He died in 1774, and Johnson placed a tablet, with a sonorous Latin epitaph, in Westminster Abbey, though Goldsmith was buried elsewhere. "Let not his frailties473 be remembered; he was a very great man," said Johnson; and the literary world--which, like that old dictator, is kind enough at heart, though often rough in its methods--is glad to accept and record the verdict.

Works of Goldsmith. Of Goldsmith's early essays and his later school histories little need be said. They have settled into their own place, far out of sight of the ordinary reader. Perhaps the most interesting of these is a series of letters for the Public Ledger475 (afterwards published as The Citizen of the World), written from the view point of an alleged Chinese traveler, and giving the latter's comments on English civilization.[204] The following five works are those upon which Goldsmith's fame chiefly rests:

The Traveller (1764) made Goldsmith's reputation among his contemporaries, but is now seldom read, except by students who would understand how Goldsmith was, at one time, dominated by Johnson and his pseudo-classic ideals. It is a long poem, in rimed couplets, giving a survey and criticism of the social life of various countries in Europe, and reflects many of Goldsmith's own wanderings and impressions.

The Deserted VillageThe Deserted Village (1770), though written in the same mechanical style, is so permeated476 with honest human sympathy, and voices so perfectly the revolt of the individual man against institutions, that a multitude of common people heard it gladly, without consulting the critics as to whether they should call it good poetry. Notwithstanding its faults, to which Matthew Arnold has called sufficient attention, it has become one of our best known poems, though we cannot help wishing that the monotony of its couplets had been broken by some of the Irish folk songs and ballads that charmed street audiences in Dublin, and that brought Goldsmith a welcome from the French peasants wherever he stopped to sing. In the village parson and the schoolmaster, Goldsmith has increased Chaucer's list by two lovable characters that will endure as long as the English language. The criticism that the picture of prosperous "Sweet Auburn" never applied to any village in Ireland is just, no doubt, but it is outside the question. Goldsmith was a hopeless dreamer, bound to see everything, as he saw his debts and his gay clothes, in a purely idealistic way.

The Good-Natured Man and She Stoops to Conquer are Goldsmith's two comedies. The former, a comedy of character, though it has some laughable scenes and one laughable character, Croaker, met with failure on the stage, and has never been revived with any success. The latter, a comedy of intrigue477, is one of the few plays that has never lost its popularity. Its lively, bustling478 scenes, and its pleasantly absurd characters, Marlowe, the Hardcastles, and Tony Lumpkin, still hold the attention of modern theater goers; and nearly every amateur dramatic club sooner or later places She Stoops to Conquer on its list of attractions.

The Vicar of WakefieldThe Vicar of Wakefield is Goldsmith's only novel, and the first in any language that gives to home life an enduring romantic interest. However much we admire the beginnings of the English novel, to which we shall presently refer, we are nevertheless shocked by its frequent brutalities and indecencies. Goldsmith like Steele, had the Irish reverence for pure womanhood, and this reverence made him shun479 as a pest the vulgarity and coarseness in which contemporary novelists, like Smollett and Sterne, seemed to delight. So he did for the novel what Addison and Steele had done for the satire and the essay; he refined and elevated it, making it worthy of the old Anglo-Saxon ideals which are our best literary heritage.

Briefly480, The Vicar of Wakefield is the story of a simple English clergyman, Dr. Primrose, and his family, who pass from happiness through great tribulation481. Misfortunes, which are said never to come singly, appear in this case in flocks; but through poverty, sorrow, imprisonment482, and the unspeakable loss of his daughters, the Vicar's faith in God and man emerges triumphant483. To the very end he is like one of the old martyrs484, who sings Alleluia while the lions roar about him and his children in the arena485. Goldsmith's optimism, it must be confessed, is here stretched to the breaking point. The reader is sometimes offered fine Johnsonian phrases where he would naturally expect homely and vigorous language; and he is continually haunted by the suspicion that, even in this best of all possible worlds, the Vicar's clouds of affliction were somewhat too easily converted into showers of blessing486; yet he is forced to read on, and at the end he confesses gladly that Goldsmith has succeeded in making a most interesting story out of material that, in other hands, would have developed either a burlesque or a brutal tragedy. Laying aside all romantic passion, intrigue, and adventure, upon which other novelists depended, Goldsmith, in this simple story of common life, has accomplished three noteworthy results: he has made human fatherhood almost a divine thing; he has glorified487 the moral sentiments which cluster about the family life as the center of civilization; and he has given us, in Dr. Primrose, a striking and enduring figure, which seems more like a personal acquaintance than a character in a book.

WILLIAM COWPER (1731--1800)

In Cowper we have another interesting poet, who, like Gray and Goldsmith, shows the struggle between romantic and classic ideals. In his first volume of poems, Cowper is more hampered489 by literary fashions than was Goldsmith in his Traveller and his Deserted Village. In his second period, however, Cowper uses blank verse freely; and his delight in nature and in homely characters, like the teamster and the mail carrier of The Task, shows that his classicism is being rapidly thawed491 out by romantic feeling. In his later work, especially his immortal "John Gilpin," Cowper flings fashions aside, gives Pegasus the reins492, takes to the open road, and so proves himself a worthy predecessor493 of Burns, who is the most spontaneous and the most interesting of all the early romanticists.

Illustration: WILLIAM COWPER
WILLIAM COWPER

Life. Cowper's life is a pathetic story of a shy and timid genius, who found the world of men too rough, and who withdrew to nature like a wounded animal. He was born at Great Berkhamstead, Hertfordshire, in 1731, the son of an English clergyman. He was a delicate, sensitive child, whose early life was saddened by the death of his mother and by his neglect at home. At six years he was sent away to a boys' school, where he was terrified by young barbarians who made his life miserable494. There was one atrocious bully495 into whose face Cowper could never look; he recognized his enemy by his shoe buckles496, and shivered at his approach. The fierce invectives of his "Tirocinium, or a Review of Schools" (1784), shows how these school experiences had affected497 his mind and health. For twelve years he studied law, but at the approach of a public examination for an office he was so terrified that he attempted suicide. The experience unsettled his reason, and the next twelve months were spent in an asylum at St. Alban's. The death of his father, in 1756, had brought the poet a small patrimony498, which placed him above the necessity of struggling, like Goldsmith, for his daily bread. Upon his recovery he boarded for years at the house of the Unwins, cultured people who recognized the genius hidden in this shy and melancholy yet quaintly499 humorous man. Mrs. Unwin, in particular, cared for him as a son; and whatever happiness he experienced in his poor life was the result of the devotion of this good woman, who is the "Mary" of all his poems.

A second attack of insanity was brought on by Cowper's morbid500 interest in religion, influenced, perhaps, by the untempered zeal of one John Newton, a curate, with whom Cowper worked in the small parish of Olney, and with whom he compiled the famous Olney Hymns. The rest of his life, between intervals of melancholia or insanity, was spent in gardening, in the care of his numerous pets, and in writing his poems, his translation of Homer, and his charming letters. His two best known poems were suggested by a lively and cultivated widow, Lady Austen, who told him the story of John Gilpin and called for a ballad on the subject. She also urged him to write a long poem in blank verse; and when he demanded a subject, she whimsically suggested the sofa, which was a new article of furniture at that time. Cowper immediately wrote "The Sofa," and, influenced by the poetic possibilities that lie in unexpected places, he added to this poem from time to time, and called his completed work The Task. This was published in 1785, and the author was instantly recognized as one of the chief poets of his age. The last years of his life were a long battle with insanity, until death mercifully ended the struggle in 1800. His last poem, "The Castaway," is a cry of despair, in which, under guise272 of a man washed overboard in a storm, he describes himself perishing in the sight of friends who are powerless to help.

Cowper's Works. Cowper's first volume of poems, containing "The Progress of Error," "Truth," "Table Talk," etc., is interesting chiefly as showing how the poet was bound by the classical rules of his age. These poems are dreary, on the whole, but a certain gentleness, and especially a vein501 of pure humor, occasionally rewards the reader. For Cowper was a humorist, and only the constant shadow of insanity kept him from becoming famous in that line alone.

The TaskThe Task, written in blank verse, and published in 1785, is Cowper's longest poem. Used as we are to the natural poetry of Wordsworth and Tennyson, it is hard for us to appreciate the striking originality of this work. Much of it is conventional and "wooden," to be sure, like much of Wordsworth's poetry; but when, after reading the rimed essays and the artificial couplets of Johnson's age, we turn suddenly to Cowper's description of homely scenes, of woods and brooks502, of plowmen and teamsters and the letter carrier on his rounds, we realize that we are at the dawn of a better day in poetry:

    He comes, the herald of a noisy world,
    With spatter'd boots, strapp'd waist, and frozen locks:
    News from all nations lumbering503 at his back.
    True to his charge, the close-packed load behind,
    Yet careless what he brings, his one concern
    Is to conduct it to the destined504 inn,
    And, having dropped the expected bag, pass on.
    He whistles as he goes, light-hearted wretch296,
    Cold and yet cheerful: messenger of grief
    Perhaps to thousands, and of joy to some;
    To him indifferent whether grief or joy.
    Houses in ashes, and the fall of stocks,
    Births, deaths, and marriages, epistles wet
    With tears that trickled505 down the writer's cheeks
    Fast as the periods from his fluent quill506,
    Or charged with amorous507 sighs of absent swains,
    Or nymphs responsive, equally affect
    His horse and him, unconscious of them all.

Miscellaneous WorksCowper's most laborious508 work, the translation of Homer in blank verse, was published in 1791. Its stately, Milton-like movement, and its better rendering509 of the Greek, make this translation far superior to Pope's artificial couplets. It is also better, in many respects, than Chapman's more famous and more fanciful rendering; but for some reason it was not successful, and has never received the recognition which it deserves. Entirely different in spirit are the poet's numerous hymns, which were published in the Olney Collection in 1779 and which are still used in our churches. It is only necessary to mention a few first lines--"God moves in a mysterious way," "Oh, for a closer walk with God," "Sometimes a light surprises"--to show how his gentle and devout spirit has left its impress upon thousands who now hardly know his name. With Cowper's charming Letters, published in 1803, we reach the end of his important works, and the student who enjoys reading letters will find that these rank among the best of their kind. It is not, however, for his ambitious works that Cowper is remembered, but rather for his minor poems, which have found their own way into so many homes. Among these, the one that brings quickest response from hearts that understand is his little poem, "On the Receipt of My Mother's Picture." beginning with the striking line, "Oh, that those lips had language." Another, called "Alexander Selkirk," beginning, "I am monarch510 of all I survey," suggests how Selkirk's experiences as a castaway (which gave Defoe his inspiration for Robinson Crusoe) affected the poet's timid nature and imagination. Last and most famous of all is his immortal "John Gilpin." Cowper was in a terrible fit of melancholy when Lady Austen told him the story, which proved to be better than medicine, for all night long chuckles511 and suppressed laughter were heard in the poet's bedroom. Next morning at breakfast he recited the ballad that had afforded its author so much delight in the making. The student should read it, even if he reads nothing else by Cowper; and he will be lacking in humor or appreciation if he is not ready to echo heartily512 the last stanza513:

    Now let us sing, Long live the King,
    And Gilpin, long live he!
    And when he next doth ride abroad
    May I be there to see.

ROBERT BURNS (1759-1796)

After a century and more of Classicism, we noted with interest the work of three men, Gray, Goldsmith, and Cowper, whose poetry, like the chorus of awakening birds, suggests the dawn of another day. Two other poets of the same age suggest the sunrise. The first is the plowman Burns, who speaks straight from the heart to the primitive514 emotions of the race; the second is the mystic Blake, who only half understands his own thoughts, and whose words stir a sensitive nature as music does, or the moon in midheaven, rousing in the soul those vague desires and aspirations515 which ordinarily sleep, and which can never be expressed because they have no names. Blake lived his shy, mystic, spiritual life in the crowded city, and his message is to the few who can understand. Burns lived his sad, toilsome, erring life in the open air, with the sun and the rain, and his songs touch all the world. The latter's poetry, so far as it has a philosophy, rests upon two principles which the classic school never understood,--that common people are at heart romantic and lovers of the ideal, and that simple human emotions furnish the elements of true poetry. Largely because he follows these two principles, Burns is probably the greatest song writer of the world. His poetic creed516 may be summed up in one of his own stanzas517:

    Give me ae spark o' Nature's fire,
    That's a' the learning I desire;
    Then, though I trudge518 thro' dub148 an' mire324
                  At pleugh or cart,
    My Muse131, though hamely in attire519,
                  May touch the heart.

Illustration: ROBERT BURNS
ROBERT BURNS

Life.[205] Burns's life is "a life of fragments," as Carlyle called it; and the different fragments are as unlike as the noble "Cotter's Saturday Night" and the rant174 and riot of "The Jolly Beggars." The details of this sad and disjointed life were better, perhaps, forgotten. We call attention only to the facts which help us to understand the man and his poetry.

Burns was born in a clay cottage at Alloway, Scotland, in the bleak520 winter of 1759. His father was an excellent type of the Scotch peasant of those days,--a poor, honest, God-fearing man, who toiled521 from dawn till dark to wrest141 a living for his family from the stubborn soil. His tall figure was bent106 with unceasing labor; his hair was thin and gray, and in his eyes was the careworn522, hunted look of a peasant driven by poverty and unpaid523 rents from one poor farm to another. The family often fasted of necessity, and lived in solitude524 to avoid the temptation of spending their hard-earned money. The children went barefoot and bareheaded in all weathers, and shared the parents' toil104 and their anxiety over the rents. At thirteen Bobby, the eldest525, was doing a peasant's full day's labor; at sixteen he was chief laborer on his father's farm; and he describes the life as "the cheerless gloom of a hermit526, and the unceasing moil of a galley527 slave." In 1784 the father, after a lifetime of toil, was saved from a debtor's prison by consumption and death. To rescue something from the wreck199 of the home, and to win a poor chance of bread for the family, the two older boys set up a claim for arrears528 of wages that had never been paid. With the small sum allowed them, they buried their father, took another farm, Mossgiel, in Mauchline, and began again the long struggle with poverty.

Such, in outline, is Burns's own story of his early life, taken mostly from his letters. There is another and more pleasing side to the picture, of which we have glimpses in his poems and in his Common-place Book. Here we see the boy at school; for like most Scotch peasants, the father gave his boys the best education he possibly could. We see him following the plow426, not like a slave, but like a free man, crooning over an old Scotch song and making a better one to match the melody. We see him stop the plow to listen to what the wind is saying, or turn aside lest he disturb the birds at their singing and nest making. At supper we see the family about the table, happy notwithstanding their scant fare, each child with a spoon in one hand and a book in the other. We hear Betty Davidson reciting, from her great store, some heroic ballad that fired the young hearts to enthusiasm and made them forget the day's toil. And in "The Cotter's Saturday Night" we have a glimpse of Scotch peasant life that makes us almost reverence these heroic men and women, who kept their faith and their self-respect in the face of poverty, and whose hearts, under their rough exteriors529, were tender and true as steel.

A most unfortunate change in Burns's life began when he left the farm, at seventeen, and went to Kirkoswald to study surveying. The town was the haunt of smugglers, rough-living, hard-drinking men; and Burns speedily found his way into those scenes of "riot and roaring dissipation" which were his bane ever afterwards. For a little while he studied diligently530, but one day, while taking the altitude of the sun, he saw a pretty girl in the neighboring garden, and love put trigonometry to flight. Soon he gave up his work and wandered back to the farm and poverty again.

Illustration: BIRTHPLACE OF BURNS
BIRTHPLACE OF BURNS

When twenty-seven years of age Burns first attracted literary attention, and in the same moment sprang to the first place in Scottish letters. In despair over his poverty and personal habits, he resolved to emigrate to Jamaica, and gathered together a few of his early poems, hoping to sell them for enough to pay the expenses of his journey. The result was the famous Kilmarnock edition of Burns, published in 1786, for which he was offered twenty pounds. It is said that he even bought his ticket, and on the night before the ship sailed wrote his "Farewell to Scotland," beginning, "The gloomy night is gathering531 fast," which he intended to be his last song on Scottish soil.

In the morning he changed his mind, led partly by some dim foreshadowing of the result of his literary adventure; for the little book took all Scotland by storm. Not only scholars and literary men, but "even plowboys and maid servants," says a contemporary, eagerly spent their hard-earned shillings for the new book. Instead of going to Jamaica, the young poet hurried to Edinburgh to arrange for another edition of his work. His journey was a constant ovation532, and in the capital he was welcomed and feasted by the best of Scottish society. This inexpected triumph lasted only one winter. Burns's fondness for taverns and riotous533 living shocked his cultured entertainers, and when he returned to Edinburgh next winter, after a pleasure jaunt534 through the Highlands, he received scant attention. He left the city in anger and disappointment, and went back to the soil where he was more at home.

The last few years of Burns's life are a sad tragedy, and we pass over them hurriedly. He bought the farm Ellisland, Dumfriesshire, and married the faithful Jean Armour536, in 1788, That he could write of her,

    I see her in the dewy flowers,
    I see her sweet and fair;
    I hear her in the tunefu' birds,
    I hear her charm the air:
    There's not a bonie flower that springs
    By fountain, shaw, or green;
    There's not a bonie bird that sings,
    But minds me o' my Jean,

is enough for us to remember. The next year he was appointed exciseman, i.e. collector of liquor revenues, and the small salary, with the return from his poems, would have been sufficient to keep his family in modest comfort, had he but kept away from taverns. For a few years his life of alternate toil and dissipation was occasionally illumined by his splendid lyric genius, and he produced many songs--"Bonnie Doon," "My Love's like a Red, Red Rose," "Auld537 Lang Syne," "Highland535 Mary," and the soul-stirring "Scots wha hae," composed while galloping538 over the moor in a storm--which have made the name of Burns known wherever the English language is spoken, and honored wherever Scotchmen gather together. He died miserably539 in 1796, when only thirty-seven years old. His last letter was an appeal to a friend for money to stave off the bailiff, and one of his last poems a tribute to Jessie Lewars, a kind lassie who helped to care for him in his illness. This last exquisite540 lyric, "O wert thou in the cauld blast," set to Mendelssohn's music, is one of our best known songs, though its history is seldom suspected by those who sing it.

The Poetry of Burns. The publication of the Kilmarnock Burns, with the title Poems Chiefly in the Scottish Dialect (1786), marks an epoch541 in the history of English Literature, like the publication of Spenser's Shepherd's Calendar. After a century of cold and formal poetry, relieved only by the romanticism of Gray and Cowper, these fresh inspired songs went straight to the heart, like the music of returning birds in springtime. It was a little volume, but a great book; and we think of Marlowe's line, "Infinite riches in a little room," in connection with it. Such poems as "The Cotter's Saturday Night," "To a Mouse," "To Mountain Daisy," "Man was Made To Mourn," "The Twa Dogs," "Address to the Deil," and "Halloween," suggest that the whole spirit of the romantic revival is embodied542 in this obscure plowman. Love, humor, pathos543, the response to nature,--all the poetic qualities that touch the human heart are here; and the heart was touched as it had not been since the days of Elizabeth. If the reader will note again the six characteristics of the romantic movement, and then read six poems of Burns, he will see at once how perfectly this one man expresses the new idea. Or take a single suggestion,--

    Ae fond kiss, and then we sever158!
    Ae farewell, and then forever!
    Deep in heart-wrung tears I'll pledge thee,
    Warring sighs and groans544 I'll wage thee.
    Who shall say that Fortune grieves him
    While the star of hope she leaves him?
    Me, nae cheerfu' twinkle lights me;
    Dark despair around benights me.
    I'll ne'er blame my partial fancy,
    Naething could resist my Nancy;
    But to see her was to love her;
    Love but her, and love forever.
    Had we never lov'd sae kindly,
    Had we never lov'd sae blindly,
    Never met--or never parted--
    We had ne'er been broken-hearted.

The "essence of a thousand love tales" is in that one little song. Because he embodies545 the new spirit of romanticism, critics give him a high place in the history of our literature; and because his songs go straight to the heart, he is the poet of common men.

Songs for MusicOf Burns's many songs for music little need be said. They have found their way into the hearts of a whole people, and there they speak for themselves. They range from the exquisite "O wert thou in the cauld blast," to the tremendous appeal to Scottish patriotism in "Scots wha hae wi' Wallace bled," which, Carlyle said, should be sung with the throat of the whirlwind. Many of these songs were composed in his best days, when following the plow or resting after his work, while the music of some old Scotch song was ringing in his head. It is largely because he thought of music while he composed that so many of his poems have the singing quality, suggesting a melody as we read them.

Among his poems of nature, "To a Mouse" and "To a Mountain Daisy" are unquestionably the best, suggesting the poetical possibilities that daily pass unnoticed under our feet. These two poems are as near as Burns ever comes to appreciating nature for its own sake. The majority of his poems, like "Winter" and "Ye banks and braes o' bonie Doon," regard nature in the same way that Gray regarded it, as a background for the play of human emotions.

Of his poems of emotion there is an immense number. It is a curious fact that the world is always laughing and crying at the same moment; and we can hardly read a page of Burns without finding this natural juxtaposition546 of smiles and tears. It is noteworthy also that all strong emotions, when expressed naturally, lend themselves to poetry; and Burns, more than any other writer, has an astonishing faculty547 of describing his own emotions with vividness and simplicity, so that they appeal instantly to our own. One cannot read, "I love my Jean," for instance, without being in love with some idealized woman; or "To Mary in Heaven," without sharing the personal grief of one who has loved and lost.

Illustration: THE AULD BRIG, AYR (AYR BRIDGE)
THE AULD BRIG, AYR (AYR BRIDGE)

Miscellaneous PoemsBesides the songs of nature and of human emotion, Burns has given us a large number of poems for which no general title can be given. Noteworthy among these are "A man's a man for a' that," which voices the new romantic estimate of humanity; "The Vision," from which we get a strong impression of Burns's early ideals; the "Epistle to a Young Friend," from which, rather than from his satires, we learn Burns's personal views of religion and honor; the "Address to the Unco Guid," which is the poet's plea for mercy in judgment; and "A Bard's Epitaph," which, as a summary of his own life, might well be written at the end of his poems. "Halloween," a picture of rustic548 merrymaking, and "The Twa Dogs" a contrast between the rich and poor, are generally classed among the poet's best works; but one unfamiliar549 with the Scotch dialect will find them rather difficult.

Of Burns's longer poems the two best worth reading are "The Cotter's Saturday Night" and "Tam o' Shanter,"--the one giving the most perfect picture we possess of a noble poverty; the other being the most lively and the least objectionable of his humorous works. It would be difficult to find elsewhere such a combination of the grewsome and the ridiculous as is packed up in "Tam o' Shanter." With the exception of these two, the longer poems add little to the author's fame or to our own enjoyment550. It is better for the beginner to read Burns's exquisite songs and gladly to recognize his place in the hearts of a people, and forget the rest, since they only sadden us and obscure the poet's better nature.

WILLIAM BLAKE (1757-1827)

    Piping down the valleys wild,
        Piping songs of pleasant glee,
    On a cloud I saw a child,
        And he laughing said to me:
    "Pipe a song about a lamb;"
        So I piped with merry cheer.
    "Piper, pipe that song again;"
        So I piped:, he wept to hear.
    "Piper, sit thee down and write
        In a book, that all may read;"
    So he vanished from my sight,
        And I plucked a hollow reed,
    And I made a rural pen,
        And I stained the water clear,
    And I wrote my happy songs
        Every child may joy to hear.[206]

Of all the romantic poets of the eighteenth century, Blake is the most independent and the most original. In his earliest work, written when he was scarcely more than a child, he seems to go back to the Elizabethan song writers for his models; but for the greater part of his life he was the poet of inspiration alone, following no man's lead, and obeying no voice but that which he heard in his own mystic soul. Though the most extraordinary literary genius of his age, he had practically no influence upon it. Indeed, we hardly yet understand this poet of pure fancy, this mystic this transcendental madman, who remained to the end of his busy life an incomprehensible child.

Life. Blake, the son of a London tradesman, was a strange, imaginative child, whose soul was more at home with brooks and flowers and fairies than with the crowd of the city streets. Beyond learning to read and write, he received education; but he began, at ten years, to copy prints and to write verses. He also began a long course of art study, which resulted in his publishing his own books, adorned551 with marginal engravings colored by hand,--an unusual setting, worthy of the strong artistic sense that shows itself in many of his early verses. As a child he had visions of God and the angels looking in at his window; and as a man he thought he received visits from the souls of the great dead, Moses, Virgil, Homer, Dante, Milton,--"majestic shadows, gray but luminous," he calls them. He seems never to have asked himself the question how far these visions were pure illusions, but believed and trusted them implicitly553. To him all nature was a vast spiritual symbolism, wherein he saw elves, fairies, devils, angels,--all looking at him in friendship or enmity through the eyes of flowers and stars:

    With the blue sky spread over with wings,
        And the mild sun that mounts and sings;
    With trees and fields full of fairy elves,
        And little devils who fight for themselves;
    With angels planted in hawthorne bowers554,
        And God himself in the passing hours.

And this curious, pantheistic conception of nature was not a matter of creed, but the very essence of Blake's life. Strangely enough, he made no attempt to found a new religious cult64, but followed his own way, singing cheerfully, working patiently, in the face of discouragement and failure. That writers of far less genius were exalted556 to favor, while he remained poor and obscure, does not seem to have troubled him in the least. For over forty years he labored diligently at book engraving552, guided in his art by Michael Angelo. but inventing his own curious designs, at which we still wonder. The illustrations for Young's "Night Thoughts," for Blair's "Grave," and the "Inventions to the Book of Job," show the peculiarity557 of Blake's mind quite as clearly as his poems. While he worked at his trade he flung off--for he never seemed to compose--disjointed visions and incomprehensible rhapsodies, with an occasional little gem555 that still sets our hearts to singing:

    Ah, sunflower, weary of time,
        Who countest the steps of the sun;
    Seeking after that sweet golden clime
        Where the traveller's journey is done;
    Where the youth pined away with desire,
        And the pale virgin558 shrouded559 in snow,
    Rise from their graves, and aspire
        Where my sunflower wishes to go!

That is a curious flower to find growing in the London street; but it suggests Blake's own life, which was outwardly busy and quiet, but inwardly full of adventure and excitement. His last huge prophetic works, like Jerusalem and Milton (1804), were dictated560 to him, he declares, by supernatural means, and even against his own will. They are only half intelligible561, but here and there one sees flashes of the same poetic beauty that marks his little poems. Critics generally dismiss Blake with the word "madman"; but that is only an evasion562. At best, he is the writer of exquisite lyrics; at worst, he is mad only "north-northwest," like Hamlet; and the puzzle is to find the method in his madness. The most amazing thing about him is the perfectly sane563 and cheerful way in which he moved through poverty and obscurity, flinging out exquisite poems or senseless rhapsodies, as a child might play with gems564 or straws or sunbeams indifferently. He was a gentle, kindly, most unworldly little man, with extraordinary eyes, which seem even in the lifeless portraits to reflect some unusual hypnotic power. He died obscurely, smiling at a vision of Paradise, in 1827. That was nearly a century ago, yet he still remains565 one of the most incomprehensible figures in our literature.

Works of Blake. The Poetical Sketches566, published in 1783, is a collection of Blake's earliest poetry, much of it written in boyhood. It contains much crude and incoherent work, but also a few lyrics of striking originality. Two later and better known volumes are Songs of Innocence567 and Songs of Experience, reflecting two widely different views of the human soul. As in all his works, there is an abundance of apparently worthless stuff in these songs; but, in the language of miners, it is all "pay dirt"; it shows gleams of golden grains that await our sifting568, and now and then we find a nugget unexpectedly:

    My lord was like a flower upon the brows
    Of lusty May; ah life as frail474 as flower!
    My lord was like a star in highest heaven
    Drawn down to earth by spells and wickedness;
    My lord was like the opening eye of day;
    But he is darkened; like the summer moon
    Clouded; fall'n like the stately tree, cut down;
    The breath of heaven dwelt among his leaves.

On account of the chaotic569 character of most of Blake's work, it is well to begin our reading with a short book of selections, containing the best songs of these three little volumes. Swinburne calls Blake the only poet of "supreme and simple poetic genius" of the eighteenth century, the one man of that age fit, on all accounts, to rank with the old great masters.[207] The praise is doubtless extravagant570, and the criticism somewhat intemperate571; but when we have read "The Evening Star," "Memory," "Night," "Love," "To the Muses293," "Spring," "Summer," "The Tiger," "The Lamb," "The Clod and the Pebble," we may possibly share Swinburne's enthusiasm. Certainly, in these three volumes we have some of the most perfect and the most original songs in our language.

Of Blake's longer poems, his titanic572 prophecies and apocalyptic573 splendors574, it is impossible to write justly in such a brief work as this. Outwardly they suggest a huge chaff575 pile, and the scattered576 grains of wheat hardly warrant the labor of winnowing577. The curious reader will get an idea of Blake's amazing mysticism by dipping into any of the works of his middle life,--Urizen, Gates of Paradise, Marriage of Heaven and Hell, America, The French Revolution, or The Vision of the Daughters of Albion. His latest works, like Jerusalem and Milton, are too obscure to have any literary value. To read any of these works casually578 is to call the author a madman; to study them, remembering Blake's songs and his genius, is to quote softly his own answer to the child who asked about the land of dreams:

    "O what land is the land of dreams,
    What are its mountains and what are its streams?
    --O father, I saw my mother there,
    Among the lilies by waters fair."
    "Dear child, I also by pleasant streams
    Have wandered all night in the land of dreams;
    But though calm and warm the waters wide,
    I could not get to the other side."

MINOR POETS OF THE REVIVAL

We have chosen the five preceding poets, Gray, Goldsmith, Cowper, Burns, and Blake, as the most typical and the most interesting of the writers who proclaimed the dawn of Romanticism in the eighteenth century. With them we associate a group of minor writers, whose works were immensely popular in their own day. The ordinary reader will pass them by, but to the student they are all significant as expressions of very different phases of the romantic revival.

James Thomson (1700-1748). Thomson belongs among the pioneers of Romanticism. Like Gray and Goldsmith, he wavered between Pseudo-classic and the new romantic ideals, and for this reason, if for no other, his early work is interesting, like the uncertainty579 of a child who hesitates whether to creep safely on all fours or risk a fall by walking. He is "worthy to be remembered" for three poems,--"Rule Britannia," which is still one of the national songs of England The Castle of Indolence, and The Seasons. The dreamy and romantic Castle (1748), occupied by enchanter Indolence and his willing captives in the land of Drowsyhed, is purely Spenserian in its imagery, and is written in the Spenserian stanza. The Seasons (1726-1730), written in blank verse, describes the sights and sounds of the changing year and the poet's own feelings in the presence of nature. These two poems, though rather dull to a modern reader, were significant of the early romantic revival in three ways: they abandoned the prevailing heroic couplet; they went back to the Elizabethans, instead of to Pope, for their models; and they called attention to the long-neglected life of nature as a subject for poetry.

William Collins (1721-1759). Collins, the friend and disciple580 of Thomson, was of a delicate, nervous temperament75, like Cowper; and over him also brooded the awful shadow of insanity. His first work, Oriental Eclogues (1742), is romantic in feeling, but is written in the prevailing mechanical couplets. All his later work is romantic in both thought and expression. His "Ode on the Popular Superstitions of the Highlands" (1750) is an interesting event in the romantic revival, for it introduced a new world, of witches, pygmies, fairies, and medi?val kings, for the imagination to play in. Collins's best known poems are the odes "To Simplicity," "To Fear," "To the Passions," the little unnamed lyric beginning "How sleep the brave," and the exquisite "Ode to Evening." In reading the latter, one is scarcely aware that the lines are so delicately balanced that they have no need of rime287 to accentuate581 their melody.

George Crabbe (1754-1832). Crabbe is an interesting combination of realism and romanticism, his work of depicting582 common life being, at times, vaguely583 suggestive of Fielding's novels. The Village (1783), a poem without a rival as a picture of the workingmen of his age, is sometimes like Fielding in its coarse vigor, and again like Dryden in its precise versification. The poem was not successful at first, and Crabbe abandoned his literary dreams. For over twenty years he settled down as a clergyman in a country parish, observing keenly the common life about him. Then he published more poems, exactly like The Village, which immediately brought him fame and money. They brought him also the friendship of Walter Scott, who, like others, regarded Crabbe as one of the first poets of the age. These later poems, The Parish Register (1807), The Borough21 (1810), Tales in Verse (1812), and Tales of the Hall (1819), are in the same strain. They are written in couplets; they are reflections of nature and of country life; they contain much that is sordid584 and dull, but are nevertheless real pictures of real men and women, just as Crabbe saw them, and as such they are still interesting. Goldsmith and Burns had idealized the poor, and we admire them for their sympathy and insight. It remained for Crabbe to show that in wretched fishing villages, in the lives of hardworking men and women, children, laborers585, smugglers, paupers,--all sorts and conditions of common men,--there is abundant romantic without exaggerating or idealizing their vices and virtues586.

James Macpherson (1736-1796). In Macpherson we have an unusual figure, who catered587 to the new romantic interest in the old epic heroes, and won immense though momentary588 fame, by a series of literary forgeries589. Macpherson was a Scotch schoolmaster, an educated man, but evidently not over-tender of conscience, whose imagination had been stirred by certain old poems which he may have heard in Gaelic among the Highlanders. In 1760 he published his Fragments of Ancient Poetry collected in the Highlands, and alleged that his work was but a translation of Gaelic manuscripts. Whether the work of itself would have attracted attention is doubtful; but the fact that an abundance of literary material might be awaiting discovery led to an interest such as now attends the opening of an Egyptian tomb, and a subscription590 was promptly raised in Edinburgh to send Macpherson through the Highlands to collect more "manuscripts." The result was the epic Fingal (1762), "that lank490 and lamentable591 counterfeit592 of poetry," as Swinburne calls it, which the author professed to have translated from the Gaelic of the poet Ossian. Its success was astonishing, and Macpherson followed it up with Temora (1763), another epic in the same strain. In both these works Macpherson succeeds in giving an air of primal593 grandeur to his heroes; the characters are big and shadowy; the imagery is at times magnificent; the language is a kind of chanting, bombastic594 prose:

Now Fingal arose in his might and thrice he reared his voice. Cromla answered around, and the sons of the desert stood still. They bent their red faces to earth, ashamed at the presence of Fingal. He came like a cloud of rain in the days of the sun, when slow it rolls on the hill, and fields expect the shower. Swaran beheld595 the terrible king of Morven, and stopped in the midst of his course. Dark he leaned on his spear rolling his red eyes around. Silent and tall he seemed as an oak on the banks of Lubar, which had its branches blasted of old by the lightning of heaven. His thousands pour around the hero, and the darkness of battle gathers on the hill.[208]

The publication of this gloomy, imaginative work produced a literary storm. A few critics, led by Dr. Johnson, demanded to see the original manuscripts, and when Macpherson refused to produce them,[209] the Ossianic poems were branded as a forgery596; nevertheless they had enormous success. Macpherson was honored as a literary explorer; he was given an official position, carrying a salary for life; and at his death, in 1796, he was buried in Westminster Abbey. Blake, Burns, and indeed most of the poets of the age were influenced by this sham poetry. Even the scholarly Gray was deceived and delighted with "Ossian"; and men as far apart as Goethe and Napoleon praised it immoderately.

Thomas Chatterton (1752-1770). This "marvelous boy," to whom Keats dedicated597 his "Endymion," and who is celebrated598 in Shelley's "Adonais," is one of the saddest and most interesting figures of the romantic revival. During his childhood he haunted the old church of St. Mary Redcliffe, in Bristol, where he was fascinated by the medi?val air of the place, and especially by one old chest, known as Canynge's coffer, containing musty documents which had been preserved for three hundred years. With strange, uncanny intentness the child pored over these relics599 of the past, copying them instead of his writing book, until he could imitate not only the spelling and language but even the handwriting of the original. Soon after the "Ossian" forgeries appeared, Chatterton began to produce documents, apparently very old, containing medi?val poems, legends, and family histories, centering around two characters,--Thomas Rowley, priest and poet, and William Canynge, merchant of Bristol in the days of Henry VI. It seems incredible that the whole design of these medi?val romances should have been worked out by a child of eleven, and that he could reproduce the style and the writing of Caxton's day so well that the printers were deceived; but such is the fact. More and more Rowley Papers, as they were called, were produced by Chatterton,--apparently from the archives of the old church; in reality from his own imagination,--delighting a large circle of readers, and deceiving all but Gray and a few scholars who recognized the occasional misuse600 of fifteenth-century English words. All this work was carefully finished, and bore the unmistakable stamp of literary genius. Reading now his "?lla," or the "Ballad of Charite," or the long poem in ballad style called "Bristowe Tragedie," it is hard to realize that it is a boy's work. At seventeen years of age Chatterton went for a literary career to London, where he soon afterwards took poison and killed himself in a fit of childish despondency, brought on by poverty and hunger.

Thomas Percy (1729-1811). To Percy, bishop163 of the Irish church, in Dromore, we are indebted for the first attempt at a systematic601 collection of the folk songs and ballads which are counted among the treasures of a nation's literature.[210] In 1765 he published, in three volumes, his famous Reliques of Ancient English Poetry. The most valuable part of this work is the remarkable collection of old English and Scottish Ballads, such as "Chevy Chase," the "Nut Brown Mayde," "Children of the Wood," "Battle of Otterburn," and many more, which but for his labor might easily have perished. We have now much better and more reliable editions of these same ballads; for Percy garbled602 his materials, adding and subtracting freely, and even inventing a few ballads of his own. Two motives probably influenced him in this. First, the different versions of the same ballad varied greatly; and Percy, in changing them to suit himself, took the same liberty as had many other writers in dealing603 with the same material. Second; Percy was under the influence of Johnson and his school, and thought it necessary to add a few elegant ballads "to atone604 for the rudeness of the more obsolete605 poems." That sounds queer now, used as we are to exactness in dealing with historical and literary material; but it expresses the general spirit of the age in which he lived.

Notwithstanding these drawbacks, Percy's Reliques marks an epoch in the history of Romanticism, and it is difficult to measure its influence on the whole romantic movement. Scott says of it, "The first time I could scrape a few shillings together, I bought myself a copy of these beloved volumes; nor do I believe I ever read a book half so frequently, or with half the enthusiasm." Scott's own poetry is strongly modeled upon these early ballads, and his Minstrelsy of the Scottish Border is due chiefly to the influence of Percy's work.

Besides the Reliques, Percy has given us another good work in his Northern Antiquities (1770) translated from the French of Mallet's History of Denmark. This also was of immense influence, since it introduced to English readers a new and fascinating mythology606, more rugged607 and primitive than that of the Greeks; and we are still, in music as in letters, under the spell of Thor and Odin, of Frea and the Valkyr maidens609, and of that stupendous drama of passion and tragedy which ended in the "Twilight610 of the Gods." The literary world owes a debt of gratitude to Percy, who wrote nothing of importance himself, but who, by collecting and translating the works of other men, did much to hasten the triumph of Romanticism in the nineteenth century.

III. THE FIRST ENGLISH NOVELISTS

The chief literary phenomena611 of the complex eighteenth century are the reign of so-called Classicism, the revival of romantic poetry, and the discovery of the modern novel. Of these three, the last is probably the most important. Aside from the fact that the novel is the most modern, and at present the most widely read and influential type of literature, we have a certain pride in regarding it as England's original contribution to the world of letters. Other great types of literature, like the epic, the romance, and the drama, were first produced by other nations; but the idea of the modern novel seems to have been worked out largely on English soil;[211] and in the number and the fine quality of her novelists, England has hardly been rivaled by any other nation. Before we study the writers who developed this new type of literature, it is well to consider briefly its meaning and history.

The Story ElementMeaning of the Novel. Probably the most significant remark made by the ordinary reader concerning a work of fiction takes the form of a question: Is it a good story? For the reader of to-day is much like the child and the primitive man in this respect, that he must be attracted and held by the story element of a narrative before he learns to appreciate its style or moral significance. The story element is therefore essential to the novel; but where the story originates is impossible to say. As well might we seek for the origin of the race; for wherever primitive men are found, there we see them gathering eagerly about the story-teller. In the halls of our Saxon ancestors the scop and the tale-bringer were ever the most welcome guests; and in the bark wigwams of the American Indians the man who told the legends of Hiawatha had an audience quite as attentive as that which gathered at the Greek festivals to hear the story of Ulysses's wanderings. To man's instinct or innate612 love for a story we are indebted for all our literature; and the novel must in some degree satisfy this instinct, or fail of appreciation.

The RomanceThe second question which we ask concerning a work of fiction is, How far does the element of imagination enter into it? For upon the element of imagination depends, largely, our classification of works of fiction into novels, romances, and mere390 adventure stories. The divisions here are as indefinite as the border land between childhood and youth, between instinct and reason; but there are certain principles to guide us. We note, in the development of any normal child, that there comes a time when for his stories he desires knights614, giants, elves, fairies, witches, magic, and marvelous adventures which have no basis in experience. He tells extraordinary tales about himself, which may be only the vague remembrances of a dream or the creations of a dawning imagination,--both of which are as real to him as any other part of life. When we say that such a child "romances," we give exactly the right name to it; for this sudden interest in extraordinary beings and events marks the development of the human imagination,--running riot at first, because it is not guided by reason, which is a later development,--and to satisfy this new interest the romance[212] was invented. The romance is, originally, a work of fiction in which the imagination is given full play without being limited by facts or probabilities. It deals with extraordinary events, with heroes whose powers are exaggerated, and often adds the element of superhuman or supernatural characters. It is impossible to draw the line where romance ends; but this element of excessive imagination and of impossible heroes and incidents is its distinguishing mark in every literature.

The NovelWhere the novel begins it is likewise impossible to say; but again we have a suggestion in the experience of every reader. There comes a time, naturally and inevitably615, in the life of every youth when the romance no longer enthralls616 him. He lives in a world of facts; gets acquainted with men and women, some good, some bad, but all human; and he demands that literature shall express life as he knows it by experience. This is the stage of the awakened447 intellect, and in our stories the intellect as well as the imagination must now be satisfied. At the beginning of this stage we delight in Robinson Crusoe; we read eagerly a multitude of adventure narratives and a few so-called historical novels; but in each case we must be lured617 by a story, must find heroes and "moving accidents by flood and field" to appeal to our imagination; and though the hero and the adventure may be exaggerated, they must both be natural and within the bounds of probability. Gradually the element of adventure or surprising incident grows less and less important, as we learn that true life is not adventurous618, but a plain, heroic matter of work and duty, and the daily choice between good and evil. Life is the most real thing in the world now,--not the life of kings, or heroes, or superhuman creatures, but the individual life with its struggles and temptations and triumphs or failures, like our own; and any work that faithfully represents life becomes interesting. So we drop the adventure story and turn to the novel. For the novel is a work of fiction in which the imagination and the intellect combine to express life in the form of a story and the imagination is always directed and controlled by the intellect. It is interested chiefly, not in romance or adventure, but in men and women as they are; it aims to show the motives and influences which govern human life, and the effects of personal choice upon character and destiny. Such is the true novel,[213] and as such it opens a wider and more interesting field than any other type of literature.

Precursors619 of the Novel. Before the novel could reach its modern stage, of a more or less sincere attempt to express human life and character, it had to pass through several centuries of almost imperceptible development. Among the early precursors of the novel we must place a collection of tales known as the Greek Romances, dating from the second to the sixth centuries. These are imaginative and delightful stories of ideal love and marvelous adventure,[214] which profoundly affected romance writing for the next thousand years. A second group of predecessors620 is found in the Italian and Spanish pastoral romances, which were inspired by the Eclogues of Virgil. These were extremely popular in the fourteenth and fifteenth centuries, and their influence is seen later in Sidney's Arcadia, which is the best of this type in English.

The third and most influential group of predecessors of the novel is made up of the romances of chivalry621, such as are found in Malory's Morte d'Arthur. It is noticeable, in reading these beautiful old romances in different languages, that each nation changes them somewhat, so as to make them more expressive622 of national traits and ideals. In a word, the old romance tends inevitably towards realism, especially in England, where the excessive imagination is curbed623 and the heroes become more human. In Malory, in the unknown author of Sir Gawain and the Green Knight613, and especially in Chaucer, we see the effect of the practical English mind in giving these old romances a more natural setting, and in making the heroes suggest, though faintly, the men and women of their own day. The Canterbury Tales, with their story interest and their characters delightfully624 true to nature, have in them the suggestion, at least, of a connected story whose chief aim is to reflect life as it is.

In the Elizabethan Age the idea of the novel grows more definite. In Sidney's Arcadia (1580), a romance of chivalry, the pastoral setting at least is generally true to nature; our credulity is not taxed, as in the old romances, by the continual appearance of magic or miracles; and the characters, though idealized till they become tiresome, occasionally give the impression of being real men and women. In Bacon's The New Atlantis (1627) we have the story of the discovery by mariners of an unknown country, inhabited by a superior race of men, more civilized625 than ourselves,--an idea which had been used by More in his Utopia in 1516. These two books are neither romances nor novels, in the strict sense, but studies of social institutions. They use the connected story as a means of teaching moral lessons, and of bringing about needed reforms; and this valuable suggestion has been adopted by many of our modern writers in the so-called problem novels and novels of purpose.

Nearer to the true novel is Lodge's romantic story of Rosalynde, which was used by Shakespeare in As You Like It. This was modeled upon the Italian novella, or short story, which became very popular in England during the Elizabethan Age. In the same age we have introduced into England the Spanish picaresque novel (from picaro, a knave or rascal), which at first was a kind of burlesque on the medi?val romance, and which took for its hero some low scoundrel or outcast, instead of a knight, and followed him through a long career of scandals and villainies. One of the earliest types of this picaresque novel in English is Nash's The Unfortunate Traveller, or the Life of Jack Wilton (1594), which is also a forerunner626 of the historical novel, since its action takes place during that gorgeous interview between Henry VIII and the king of France on the Field of the Cloth of Gold. In all these short stories and picaresque novels the emphasis was laid not so much on life and character as on the adventures of the hero; and the interest consisted largely in wondering what would happen next, and how the plot would end. The same method is employed in all trashy novels and it is especially the bane of many modern story-writers. This excessive interest in adventures or incidents for their own sake, and not for their effect on character, is what distinguishes the modern adventure story from the true novel.

In the Puritan Age we approach still nearer to the modern novel, especially in the work of Bunyan; and as the Puritan always laid emphasis on character, stories appeared having a definite moral purpose. Bunyan's The Pilgrim's Progress (1678) differs from the Faery Queen, and from all other medi?val allegories, in this important respect,--that the characters, far from being bloodless abstractions, are but thinly disguised men and women. Indeed, many a modern man, reading the story of the Christian;--has found in it the reflection of his own life and experience. In The Life and Death of Mr. Badman (1682) we have another and even more realistic study of a man as he was in Bunyan's day. These two striking figures, Christian and Mr. Badman, belong among the great characters of English fiction. Bunyan's good work,--his keen insight, his delineation627 of character, and his emphasis upon the moral effects of individual action,--was carried on by Addison and Steele some thirty years later. The character of Sir Roger de Coverley is a real reflection of English country life in the eighteenth century; and with Steele's domestic sketches in The Tatler, The Spectator, and The Guardian628 (1709-1713), we definitely cross the border land that lies outside of romance, and enter the region of character study where the novel has its beginning.

The Discovery of the Modern Novel. Notwithstanding this long history of fiction, to which we have called attention, it is safe to say that, until the publication of Richardson's Pamela in 1740, no true novel had appeared in any literature. By a true novel we mean simply a work of fiction which relates the story of a plain human life, under stress of emotion, which depends for its interest not on incident or adventure, but on its truth to nature. A number of English novelists--Goldsmith, Richardson, Fielding, Smollett, Sterne--all seem to have seized upon the idea of reflecting life as it is, in the form of a story, and to have developed it simultaneously629. The result was an extraordinary awakening of interest, especially among people who had never before been greatly concerned with literature. We are to remember that, in previous periods, the number of readers was comparatively small; and that, with the exception of a few writers like Langland and Bunyan, authors wrote largely for the upper classes. In the eighteenth century the spread of education and the appearance of newspapers and magazines led to an immense increase in the number of readers; and at the same time the middle-class people assumed a foremost place in English life and history. These new readers and this new, powerful middle class had no classic tradition to hamper488 them. They cared little for the opinions of Dr. Johnson and the famous Literary Club; and, so far as they read fiction at all, they apparently took little interest in the exaggerated romances, of impossible heroes and the picaresque stories of intrigue and villainy which had interested the upper classes. Some new type of literature was demanded, this new type must express the new ideal of the eighteenth century, namely, the value and the importance of the individual life. So the novel was born, expressing, though in a different way, exactly the same ideals of personality and of the dignity of common life which were later proclaimed in the American and in the French Revolution, and were welcomed with rejoicing by the poets of the romantic revival. To tell men, not about knights or kings or types of heroes, but about themselves in the guise of plain men and women, about their own thoughts and motives and struggles, and the results of actions upon their own characters,--this was the purpose of our first novelists. The eagerness with which their chapters were read in England, and the rapidity with which their work was copied abroad, show how powerfully the new discovery appealed to readers everywhere.

Before we consider the work of these writers who first developed the modern novel, we must glance at the work of a pioneer, Daniel Defoe, whom we place among the early novelists for the simple reason that we do not know how else to classify him.

DANIEL DEFOE (1661(?)-1731)

To Defoe is often given the credit for the discovery of the modern novel; but whether or not he deserves that honor is an open question. Even a casual reading of Robinson Crusoe (1719), which generally heads the list of modern fiction, shows that this exciting tale is largely an adventure story, rather than the study of human character which Defoe probably intended it to be. Young people still read it as they might a dime novel, skipping its moralizing passages and hurrying on to more adventures; but they seldom appreciate the excellent mature reasons which banish2 the dime novel to a secret place in the haymow, while Crusoe hangs proudly on the Christmas tree or holds an honored place on the family bookshelf. Defoe's Apparition630 of Mrs. Veal228, Memoirs of a Cavalier, and Journal of the Plague Year are such mixtures of fact, fiction, and credulity that they defy classification; while other so-called "novels," like Captain Singleton, Moll Flanders, and Roxana, are but, little better than picaresque stories, with a deal of unnatural631 moralizing and repentance632 added for puritanical633 effect. In Crusoe, Defoe brought the realistic adventure story to a very high stage of its development; but his works hardly deserve, to be classed as true novels, which must subordinate incident to the faithful portrayal634 of human life and character.

Illustration: DANIEL DEFOE
DANIEL DEFOE

Life. Defoe was the son of a London butcher named Foe204, and kept his family name until he was forty years of age, when he added the aristocratic prefix636 with which we have grown familiar. The events of his busy seventy years of life, in which he passed through all extremes, from poverty to wealth, from prosperous brickmaker to starveling journalist, from Newgate prison to immense popularity and royal favor, are obscure enough in details; but four facts stand out clearly, which help the reader to understand the character of his work. First, Defoe was a jack-at-all-trades, as well as a writer; his interest was largely with the working classes, and notwithstanding many questionable637 practices, he seems to have had some continued purpose of educating and uplifting the common people. This partially638 accounts for the enormous popularity of his works, and for the fact that they were criticised by literary men as being "fit only for the kitchen." Second, he was a radical639 Nonconformist in religion, and was intended by his father for the independent ministry. The Puritan zeal for reform possessed640 him, and he tried to do by his pen what Wesley was doing by his preaching, without, however, having any great measure of the latter's sincerity641 or singleness of purpose. This zeal for reform marks all his numerous works, and accounts for the moralizing to be found everywhere. Third, Defoe was a journalist and pamphleteer, with a reporter's eye for the picturesque642 and a newspaper man's instinct for making a "good story." He wrote an immense number of pamphlets, poems, and magazine articles; conducted several papers,--one of the most popular, the Review, being issued from prison,--and the fact that they often blew hot and cold upon the same question was hardly noticed. Indeed, so extraordinarily643 interesting and plausible644 were Defoe's articles that he generally managed to keep employed by the party in power, whether Whig or Tory. This long journalistic career, lasting half a century, accounts for his direct, simple, narrative style, which holds us even now by its intense reality. To Defoe's genius we are also indebted for two discoveries, the "interview" and the leading editorial, both of which are still in daily use in our best newspapers.

The fourth fact to remember is that Defoe knew prison life; and thereby645 hangs a tale. In 1702 Defoe published a remarkable pamphlet called "The Shortest Way with the Dissenters," supporting the claims of the free churches against the "High Fliers," i.e. Tories and Anglicans. In a vein of grim humor which recalls Swift's "Modest Proposal," Defoe advocated hanging all dissenting646 ministers, and sending all members of the free churches into exile; and so ferociously647 realistic was the satire that both Dissenters and Tories took the author literally648. Defoe was tried, found guilty of seditious libel, and sentenced to be fined, to stand three days in the pillory649, and to be imprisoned650. Hardly had the sentence been pronounced when Defoe wrote his "Hymn to the Pillory,"--

    Hail hieroglyphic651 state machine,
    Contrived652 to punish fancy in,--

a set of doggerel verses ridiculing653 his prosecutors654, which Defoe, with a keen eye for advertising655, scattered all over London. Crowds flocked to cheer him in the pillory; and seeing that Defoe was making popularity out of persecution656, his enemies bundled him off to Newgate prison. He turned this experience also to account by publishing a popular newspaper, and by getting acquainted with rogues658, pirates, smugglers, and miscellaneous outcasts, each one with a "good story" to be used later. After his release from prison, in 1704, he turned his knowledge of criminals to further account, and entered the government employ as a kind of spy or secret-service agent. His prison experience, and the further knowledge of criminals gained in over twenty years as a spy, accounts for his numerous stories of thieves and pirates, Jonathan Wild and Captain Avery, and also for his later novels, which deal almost exclusively with villains659 and outcasts.

When Defoe was nearly sixty years of age he turned to fiction and wrote the great work by which he is remembered. Robinson Crusoe was an instant success, and the author became famous all over Europe. Other stories followed rapidly, and Defoe earned money enough to retire to Newington and live in comfort; but not idly, for his activity in producing fiction is rivaled only by that of Walter Scott. Thus, in 1720 appeared Captain Singleton, Duncan Campbell, and Memoirs of a Cavalier; in 1722, Colonel Jack, Moll Flanders, and the amazingly realistic Journal of the Plague Year. So the list grows with astonishing rapidity, ending with the History of the Devil in 1726.

In the latter year Defoe's secret connection with the government became known, and a great howl of indignation rose against him in the public print, destroying in an hour the popularity which he had gained by a lifetime of intrigue and labor. He fled from his home to London, where he died obscurely, in 1731, while hiding from real or imaginary enemies.

Works of Defoe. At the head of the list stands Robinson Crusoe (1719-1720), one of the few books in any literature which has held its popularity undiminished for nearly two centuries. The story is based upon the experiences of Alexander Selkirk, or Selcraig, who had been marooned660 in the island of Juan Fernandez, off the coast of Chile, and who had lived there in solitude for five years. On his return to England in 1709, Selkirk's experiences became known, and Steele published an account of them in The Englishman, without, however, attracting any wide attention. That Defoe used Selkirk's story is practically certain; but with his usual duplicity he claimed to have written Crusoe in 1708, a year before Selkirk's return. However that may be, the story itself is real enough to have come straight from a sailor's logbook. Defoe, as shown in his Journal of the Plague Year and his Memoirs of a Cavalier, had the art of describing things he had never seen with the accuracy of an eyewitness.

Robinson CrusoeThe charm of the story is its intense reality, in the succession of thoughts, feelings, incidents, which every reader recognizes to be absolutely true to life. At first glance it would seem that one man on a desert island could not possibly furnish the material for a long story; but as we read we realize with amazement661 that every slightest thought and action--the saving of the cargo662 of the shipwrecked vessel663, the preparation for defense664 against imaginary foes665, the intense agitation666 over the discovery of a footprint in the sand--is a record of what the reader himself would do and feel if he were alone in such a place. Defoe's long and varied experience now stood him in good stead; in fact, he "was the only man of letters in his time who might have been thrown on a desert island without finding himself at a loss what to do;"[215] and he puts himself so perfectly in his hero's place that he repeats his blunders as well as his triumphs. Thus, what reader ever followed Defoe's hero through weary, feverish667 months of building a huge boat, which was too big to be launched by one man, without recalling some boy who spent many stormy days in shed or cellar building a boat or dog house, and who, when the thing was painted and finished, found it a foot wider than the door, and had to knock it to pieces? This absolute naturalness characterizes the whole story. It is a study of the human will also,--of patience, fortitude668, and the indomitable Saxon spirit overcoming all obstacles; and it was this element which made Rousseau recommend Robinson Crusoe as a better treatise669 on education than anything which Aristotle or the moderns had ever written. And this suggests the most significant thing about Defoe's masterpiece, namely, that the hero represents the whole of human society, doing with his own hands all the things which, by the division of labor and the demands of modern civilization, are now done by many different workers. He is therefore the type of the whole civilized race of men.

In the remaining works of Defoe, more than two hundred in number, there is an astonishing variety; but all are marked by the same simple, narrative style, and the same intense realism. The best known of these are the Journal of the Plague Year, in which the horrors of a frightful plague are minutely recorded; the Memoirs of a Cavalier, so realistic that Chatham quoted it as history in Parliament; and several picaresque novels, like Captain Singleton, Colonel Jack, Moll Flanders, and Roxana. The last work is by some critics given a very high place in realistic fiction, but like the other three, and like Defoe's minor narratives of Jack Sheppard and Cartouche, it is a disagreeable study of vice, ending with a forced and unnatural repentance.

SAMUEL RICHARDSON (1689-1761)

To Richardson belongs the credit of writing the first modern novel. He was the son of a London joiner, who, for economy's sake, resided in some unknown town in Derbyshire, where Samuel was born in 1689. The boy received very little education, but he had a natural talent for writing letters, and even as a boy we find him frequently employed by working girls to write their love letters for them. This early experience, together with his fondness for the society of "his dearest ladies" rather than of men, gave him that intimate knowledge of the hearts of sentimental670 and uneducated women which is manifest in all his work. Moreover, he was a keen observer of manners, and his surprisingly accurate descriptions often compel us to listen, even when he is most tedious. At seventeen years of age he went to London and learned the printer's trade, which he followed to the end of his life. When fifty years of age he had a small reputation as a writer of elegant epistles, and this reputation led certain publishers to approach him with a proposal that he write a series of Familiar Letters, which could be used as models by people unused to writing. Richardson gladly accepted the proposal, and had the happy inspiration to make these letters tell the connected story of a girl's life. Defoe had told an adventure story of human life on a desert island, but Richardson would tell the story of a girl's inner life in the midst of English neighbors. That sounds simple enough now, but it marked an epoch in the history of literature. Like every other great and simple discovery, it makes us wonder why some one had not thought of it before.

Richardson's Novels. The result of Richardson's inspiration was Pamela, or Virtue Rewarded, an endless series of letters[216] telling of the trials, tribulations671, and the final happy marriage of a too sweet young maiden608, published in four volumes extending over the years 1740 and 1741. Its chief fame lies in the fact that it is our first novel in the modern sense. Aside from this important fact, and viewed solely as a novel, it is sentimental, grandiloquent672, and wearisome. Its success at the time was enormous, and Richardson began another series of letters (he could tell a story in no other way) which occupied his leisure hours for the next six years. The result was Clarissa, or The History of a Young Lady, published in eight volumes in 1747-1748. This was another, and somewhat better, sentimental novel; and it was received with immense enthusiasm. Of all Richardson's heroines Clarissa is the most human. In her doubts and scruples673 of conscience, and especially in her bitter grief and humiliation674, she is a real woman, in marked contrast with the mechanical hero, Lovelace, who simply illustrates675 the author's inability to portray186 a man's character. The dramatic element in this novel is strong, and is increased by means of the letters, which enable the reader to keep close to the characters of the story and to see life from their different view points. Macaulay, who was deeply impressed by Clarissa, is said to have made the remark that, were the novel lost, he could restore almost the whole of it from memory.

Richardson now turned from his middle-class heroines, and in five or six years completed another series of letters, in which he attempted to tell the story of a man and an aristocrat635. The result was Sir Charles Grandison (1754), a novel in seven volumes, whose hero was intended to be a model of aristocratic manners and virtues for the middle-class people, who largely constituted the novelist's readers. For Richardson, who began in Pamela with the purpose of teaching his hearers how to write, ended with the deliberate purpose of teaching them how to live; and in most of his work his chief object was, in his own words, to inculcate virtue and good deportment. His novels, therefore, suffer as much from his purpose as from his own limitations. Notwithstanding his tedious moralizing and his other defects, Richardson in these three books gave something entirely new to the literary world, and the world appreciated the gift. This was the story of human life, told from within, and depending for its interest not on incident or adventure, but on its truth to human nature. Reading his work is, on the whole, like examining the antiquated676 model of a stern-wheel steamer; it is interesting for its undeveloped possibilities rather than for its achievement.

HENRY FIELDING (1707-1754)

Life. Judged by his ability alone, Fielding was the greatest of this new group of novel writers, and one of the most artistic that our literature has produced. He was born in East Stour, Dorsetshire, in 1707. In contrast with Richardson, he was well educated, having spent several years at the famous Eton school, and taken a degree in letters at the University of Leyden in 1728. Moreover, he had a deeper knowledge of life, gained from his own varied and sometimes riotous experience. For several years after returning from Leyden he gained a precarious677 living by writing plays, farces678, and buffoneries for the stage. In 1735 he married an admirable woman, of whom we have glimpses in two of his characters, Amelia, and Sophia Western, and lived extravagantly679 on her little fortune at East Stour. Having used up all his money, he returned to London and studied law, gaining his living by occasional plays and by newspaper work. For ten years, or more, little is definitely known of him, save that he published his first novel, Joseph Andrews, in 1742, and that he was made justice of the peace for Westminster in 1748. The remaining years of his life, in which his best novels were written, were not given to literature, but rather to his duties as magistrate680, and especially to breaking up the gangs of thieves and cutthroats which infested the streets of London after nightfall. He died in Lisbon, whither he had gone for his health, in 1754, and lies buried there in the English cemetery681. The pathetic account of this last journey, together with an inkling of the generosity682 and kind-heartedness of the man, notwithstanding the scandals and irregularities of his life, are found in his last work, the Journal of a Voyage to Lisbon.

Fielding's Work. Fielding's first novel, Joseph Andrews (1742), was inspired by the success of Pamela, and began as a burlesque of the false sentimentality and the conventional virtues of Richardson's heroine. He took for his hero the alleged brother of Pamela, who was exposed to the same kind of temptations, but who, instead of being rewarded for his virtue, was unceremoniously turned out of doors by his mistress. There the burlesque ends; the hero takes to the open road, and Fielding forgets all about Pamela in telling the adventures of Joseph and his companion, Parson Adams. Unlike Richardson, who has no humor, who minces683 words, and moralizes, and dotes on the sentimental woes684 of his heroines, Fielding is direct, vigorous, hilarious685, and coarse to the point of vulgarity. He is full of animal spirits, and he tells the story of a vagabond life, not for the sake of moralizing, like Richardson, or for emphasizing a forced repentance, like Defoe, but simply because it interests him, and his only concern is "to laugh men out of their follies686." So his story, though it abounds in unpleasant incidents, generally leaves the reader with the strong impression of reality.

Fielding's later novels are Jonathan Wild, the story of a rogue657, which suggests Defoe's narrative; The History of Tom Jones, a Foundling (1749), his best work; and Amelia (1751), the story of a good wife in contrast with an unworthy husband. His strength in all these works is in the vigorous but coarse figures, like those of Jan Steen's pictures, which fill most of his pages; his weakness is in lack of taste, and in barrenness of imagination or invention, which leads him to repeat his plots and incidents with slight variations. In all his work sincerity is perhaps the most marked characteristic. Fielding likes virile687 men, just as they are, good and bad, but detests688 shams of every sort. His satire has none of Swift's bitterness, but is subtle as that of Chaucer, and good-natured as that of Steele. He never moralizes, though some of his powerfully drawn scenes suggest a deeper moral lesson than anything in Defoe or Richardson; and he never judges even the worst of his characters without remembering his own frailty689 and tempering justice with mercy. On the whole, though much of his work is perhaps in bad taste and is too coarse for pleasant or profitable reading, Fielding must be regarded as an artist, a very great artist, in realistic fiction; and the advanced student who reads him will probably concur690 in the judgment of a modern critic that, by giving us genuine pictures of men and women of his own age, without moralizing over their vices and virtues, he became the real founder691 of the modern novel.

SMOLLETT AND STERNE

Tobias Smollett (1721-1771) apparently tried to carry on Fielding's work; but he lacked Fielding's genius, as well as his humor and inherent kindness, and so crowded his pages with the horrors and brutalities which are sometimes mistaken for realism. Smollett was a physician, of eccentric manners and ferocious instincts, who developed his unnatural peculiarities692 by going as a surgeon on a battleship, where he seems to have picked up all the evils of the navy and of the medical profession to use later in his novels.

Smollett's NovelsHis three best known works are Roderick Random (1748), a series of adventures related by the hero; Peregrine Pickle693 (1751) in which he reflects with brutal directness the worst of his experiences at sea; and Humphrey Clinker (1771), his last work, recounting the mild adventures of a Welsh family in a journey through England and Scotland. This last alone can be generally read without arousing the readers profound disgust. Without any particular ability, he models his novels on Don Quixote, and the result is simply a series of coarse adventures which are characteristic of the picaresque novel of his age. Were it not for the fact that he unconsciously imitates Jonson's Every Man in His Humour, he would hardly be named among our writers of fiction; but in seizing upon some grotesque habit or peculiarity and making a character out of it--such as Commodore Trunnion in Peregrine Pickle, Matthew Bramble in Humphrey Clinker, and Bowling694 in Roderick Random--he laid the foundation for that exaggeration in portraying695 human eccentricities696 which finds a climax in Dickens's caricatures.

Lawrence Sterne (1713-1768) has been compared to a "little bronze satyr of antiquity697 in whose hollow body exquisite odors were stored." That is true, so far as the satyr is concerned; for a more weazened, unlovely personality would be hard to find. The only question in the comparison is in regard to the character of the odors, and that is a matter of taste. In his work he is the reverse of Smollett, the latter being given over to coarse vulgarities, which are often mistaken for realism; the former to whims189 and vagaries698 and sentimental tears, which frequently only disguise a sneer699 at human grief and pity.

Sterne's WorkThe two books by which Sterne is remembered are Tristram Shandy and A Sentimental Journey through France and Italy. These are termed novels for the simple reason that we know not what else to call them. The former was begun, in his own words, "with no real idea of how it was to turn out"; its nine volumes, published at intervals from 1760 to 1767, proceeded in the most aimless way, recording700 the experiences of the eccentric Shandy family; and the book was never finished. Its strength lies chiefly in its brilliant style, the most remarkable of the age, and in its odd characters, like Uncle Toby and Corporal Trim, which, with all their eccentricities, are so humanized by the author's genius that they belong among the great "creations" of our literature. The Sentimental Journey is a curious combination of fiction, sketches of travel, miscellaneous essays on odd subjects,--all marked by the same brilliancy of style, and all stamped with Sterne's false attitude towards everything in life. Many of its best passages were either adapted or taken bodily from Burton, Rabelais, and a score of other writers; so that, in reading Sterne, one is never quite sure how much is his own work, though the mark of his grotesque genius is on every page.

The First Novelists and their Work. With the publication of Goldsmith's Vicar of Wakefield in 1766 the first series of English novels came to a suitable close. Of this work, with its abundance of homely sentiment clustering about the family life as the most sacred of Anglo-Saxon institutions, we have already spoken[217] If we except Robinson Crusoe, as an adventure story, the Vicar of Wakefield is the only novel of the period which can be freely recommended to all readers, as giving an excellent idea of the new literary type, which was perhaps more remarkable for its promise than for its achievement. In the short space of twenty-five years there suddenly appeared and flourished a new form of literature, which influenced all Europe for nearly a century, and which still furnishes the largest part of our literary enjoyment. Each successive novelist brought some new element to the work, as when Fielding supplied animal vigor and humor to Richardson's analysis of a human heart, and Sterne added brilliancy, and Goldsmith emphasized purity and the honest domestic sentiments which are still the greatest ruling force among men. So these early workers were like men engaged in carving701 a perfect cameo from the reverse side. One works the profile, another the eyes, a third the mouth and the fine lines of character; and not till the work is finished, and the cameo turned, do we see the complete human face and read its meaning. Such, in a parable274, is the story of the English novel.

Summary of the Eighteenth Century. The period we are studying is included between the English Revolution of 1688 and the beginning of the French Revolution of 1789. Historically, the period begins in a remarkable way by the adoption702 of the Bill of Rights in 1689. This famous bill was the third and final step in the establishment of constitutional government, the first step being the Great Charter (1215), and the second the Petition of Right (1628). The modern form of cabinet government was established in the reign of George I (1714-1727). The foreign prestige of England was strengthened by the victories of Marlborough on the Continent, in the War of the Spanish Succession; and the bounds of empire were enormously increased by Clive in India, by Cook in Australia and the islands of the Pacific, and by English victories over the French in Canada and the Mississippi Valley, during the Seven Years', or French and Indian, Wars. Politically, the country was divided into Whigs and Tories: the former seeking greater liberty for the people; the latter upholding the king against popular government. The continued strife between these two political parties had a direct (and generally a harmful) influence on literature, as many of the great writers were used by the Whig or Tory party to advance its own interests and to satirize its enemies. Notwithstanding this perpetual strife of parties, the age is remarkable for the rapid social development, which soon expressed itself in literature. Clubs and coffeehouses multiplied, and the social life of these clubs resulted in better manners, in a general feeling of toleration, and especially in a kind of superficial elegance which shows itself in most of the prose and poetry of the period. On the other hand, the moral standard of the nation was very low; bands of rowdies infested the city streets after nightfall; bribery703 and corruption704 were the rule in politics; and drunkenness was frightfully prevalent among all classes. Swift's degraded race of Yahoos is a reflection of the degradation to be seen in multitudes of London saloons. This low standard of morals emphasizes the importance of the great Methodist revival under Whitefield and Wesley, which began in the second quarter of the eighteenth century.

The literature of the century is remarkably complex, but we may classify it all under three general heads,--the Reign of so-called Classicism, the Revival of Romantic Poetry, and the Beginning of the Modern Novel. The first half of the century, especially, is an age of prose, owing largely to the fact that the practical and social interests of the age demanded expression. Modern newspapers, like the Chronicle, Post, and Times, and literary magazines, like the Tatler and Spectator, which began in this age, greatly influenced the development of a serviceable prose style. The poetry of the first half of the century, as typified in Pope, was polished, unimaginative, formal; and the closed couplet was in general use, supplanting705 all other forms of verse. Both prose and poetry were too frequently satiric, and satire does not tend to produce a high type of literature. These tendencies in poetry were modified, in the latter part of the century, by the revival of romantic poetry.

In our study we have noted: (1) the Augustan or Classic Age; the meaning of Classicism; the life and work of Alexander Pope, the greatest poet of the age; of Jonathan Swift, the satirist; of Joseph Addison, the essayist; of Richard Steele, who was the original genius of the Tatler and the Spectator; of Samuel Johnson, who for nearly half a century was the dictator of English letters; of James Boswell, who gave us the immortal Life of Johnson; of Edmund Burke, the greatest of English orators; and of Edward Gibbon, the historian, famous for his Decline and Fall of the Roman Empire.

(2) The Revival of Romantic Poetry; the meaning of Romanticism; the life and work of Thomas Gray; of Oliver Goldsmith, famous as poet, dramatist, and novelist; of William Cowper; of Robert Burns, the greatest of Scottish poets; of William Blake, the mystic; and the minor poets of the early romantic movement,--James Thomson, William Collins, George Crabbe, James Macpherson, author of the Ossian poems, Thomas Chatterton, the boy who originated the Rowley Papers, and Thomas Percy, whose work for literature was to collect the old ballads, which he called the Reliques of Ancient English Poetry, and to translate the stories of Norse mythology in his Northern Antiquities.

(3) The First English Novelists; the meaning and history of the modern novel; the life and work of Daniel Defoe, author of Robinson Crusoe, who is hardly to be called a novelist, but whom we placed among the pioneers; and the novels of Richardson, Fielding, Smollett, Sterne, and Goldsmith.

Selections for Reading. Manly's English Poetry and Manly's English Prose (Ginn and Company) are two excellent volumes containing selections from all authors studied. Ward8's English Poets (4 vols.), Craik's English Prose Selections (5 vols.), and Garnett's English Prose from Elizabeth to Victoria are useful for supplementary706 reading. All important works should be read entire, in one of the following inexpensive editions, published for school use. (For titles and publishers, see General Bibliography707 at end of this book.)

Pope. Rape of the Lock and Other Poems, edited by Parrott, in Standard English Classics. Various other school editions of the Essay on Man, and Rape of the Lock, in Riverside Literature Series, Pocket Classics, etc.; Pope's Iliad, I, VI, XXII, XXIV, in Standard English Classics, etc. Selections from Pope, edited by Reed, in Holt's English Readings.

Swift. Gulliver's Travels, school edition by Ginn and Company; also in Temple Classics, etc. Selections from Swift, edited by Winchester, in Athenaeum Press (announced); the same, edited by Craik, in Clarendon Press; the same, edited by Prescott, in Holt's English Readings. Battle of the Books, in King's Classics, Bohn's Library, etc.

Addison and Steele. Sir Roger de Coverley Papers, in Standard English Classics, Riverside Literature, etc.; Selections from Addison, edited by Wendell and Greenough, and Selections from Steele, edited by Carpenter, both in Athenaeum Press; various other selections, in Golden Treasury708 Series, Camelot Series, Holt's English Readings, etc.

Johnson. Lives of the Poets, in Cassell's National Library; Selected Essays, edited by G.B. Hill (Dent); Selections, in Little Masterpieces Series; Rasselas, in Holt's English Readings, and in Morley's Universal Library.

Boswell. Life of Johnson (2 vols.), in Everyman's Library; the same (3 vols.), in Library of English Classics; also in Temple Classics, and Bohn's Library.

Burke. American Taxation, Conciliation with America, Letter to a Noble Lord, in Standard English Classics; various speeches, in Pocket Classics, Riverside Literature Series, etc.; Selections, edited by B. Perry (Holt); Speeches on America (Heath, etc.).

Gibbon. The Student's Gibbon, abridged709 (Murray); Memoirs, edited by Emerson, in Athenaeum Press.

Gray. Selections, edited by W.L. Phelps, in Athenaeum Press; Selections from Gray and Cowper, in Canterbury Poets, Riverside Literature, etc.; Gray's Elegy, in Selections from Five English Poets (Ginn and Company).

Goldsmith. Deserted Village, in Standard English Classics, etc.; Vicar of Wakefield, in Standard English Classics, Everyman's Library, King's Classics, etc.; She Stoops to Conquer, in Pocket Classics, Belles710 Lettres Series, etc.

Cowper. Selections, edited by Murray, in Athenaeum Press; Selections, in Cassell's National Library, Canterbury Poets, etc.; The Task, in Temple Classics.

Burns. Representative Poems, with Carlyle's Essay on Burns, edited by C.L. Hanson, in Standard English Classics; Selections, in Pocket Classics, Riverside Literature, etc.

Blake. Poems, edited by W.B. Yeats, in Muses' Library; Selections, in Canterbury Poets, etc.

Minor Poets. Thomson, Collins, Crabbe, etc. Selections, in Manly's English Poetry. Thomson's The Seasons, and Castle of Indolence, in Modern Classics; the same poems in Clarendon Press, and in Temple Classics; Selections from Thomson, in Cassell's National Library. Chatterton's poems, in Canterbury Poets. Macpherson's Ossian, in Canterbury Poets. Percy's Reliques, in Everyman's Library, Chandos Classics, Bohn's Library, etc. More recent and reliable collections of popular ballads, for school use, are Gummere's Old English Ballads, in Athenaeum Press; The Ballad Book, edited by Allingham, in Goldern Treasury Series; Gayley and Flaherty's Poetry of the People (Ginn and Company), etc. See Bibliography on p. 64.

Defoe. Robinson Crusoe, school edition, by Ginn and Company; the same in Pocket Classics, etc.; Journal of the Plague Year, edited by Hurlbut (Ginn and Company); the same, in Everyman's Library, etc.; Essay on Projects, in Cassell's National Library.

The Novelists. Manly's English Prose; Craik's English Prose Selections, vol. 4; Goldsmith's Vicar of Wakefield (see above); Selected Essays of Fielding, edited by Gerould, in Athen?um Press.

Bibliography.[218]

History. Text-book, Montgomery, pp. 280-322; Cheyney, pp. 516-574. General Works, Greene, ch. 9, sec. 7, to ch. 10, sec. 4; Traill, Gardiner, Macaulay, etc. Special Works, Lecky's History of England in the Eighteenth Century, vols. 1-3; Morris's The Age of Queen Anne and the Early Hanoverians (Epochs of Modern History); Seeley's The Expansion of England; Macaulay's Clive, and Chatham; Thackeray's The Four Georges, and the English Humorists; Ashton's Social Life in the Reign of Queen Anne; Susan Hale's Men and Manners of the Eighteenth Century; Sydney's England and the English in the Eighteenth Century.

Literature. General Works. The Cambridge Literature, Taine, Saintsbury, etc. Special Works. Perry's English Literature in the Eighteenth Century; L. Stephen's English Literature in the Eighteenth Century; Seccombe's The Age of Johnson; Dennis's The Age of Pope; Gosse's History of English Literature in the Eighteenth Century; Whitwell's Some Eighteenth Century Men of Letters (Cowper, Sterne, Fielding, Goldsmith, Gray, Johnson, and Boswell); Johnson's Eighteenth Century Letters and Letter Writers; Williams's English Letters and Letter Writers of the Eighteenth Century; Minto's Manual of English Prose Writers; Clark's Study of English Prose Writers; Bourne's English Newspapers; J.B. Williams's A History of English Journalism711; L. Stephen's History of English Thought in the Eighteenth Century.

The Romantic Revival. W.L. Phelps's The Beginnings of the English Romantic Movement; Beers's English Romanticism in the Eighteenth Century.

The Novel. Raleigh's The English Novel; Simonds's An Introduction to the Study of English Fiction; Cross's The Development of the English Novel; Jusserand's The English Novel in the Time of Shakespeare; Stoddard's The Evolution of the English Novel; Warren's The History of the English Novel previous to the Seventeenth Century; Masson's British Novelists and their Styles; S. Lanier's The English Novel; Hamilton's the Materials and Methods of Fiction; Perry's A Study of Prose Fiction.

Pope. Texts: Works in Globe Edition, edited by A.W. Ward; in Cambridge Poets, edited by H.W. Boynton; Satires and Epistles, in Clarendon Press; Letters, in English Letters and Letter Writers of the Eighteenth Century, edited by H. Williams (Bell). Life: by Courthope; by L. Stephen (English Men of Letters Series); by Ward, in Globe Edition; by Johnson, in Lives of the Poets (Cassell's National Library, etc.). Criticism: Essays, by L. Stephen, in Hours in a Library; by Lowell, in My Study Windows; by De Quincey, in Biographical Essays, and in Essays on the Poets; by Thackeray, in English Humorists; by Sainte-Beuve, in English Portraits. Warton's Genius and Writings of Pope (interesting chiefly from the historical view point, as the first definite and extended attack on Pope's writings).

Swift. Texts: Works, 19 vols., ed. by Walter Scott (Edinburgh, 1814-1824); best edition of prose works is edited by T. Scott, with introduction by Lecky, 12 vols. (Bonn's Library); Selections, edited by Winchester (Ginn and Company); also in Camelot Series, Carisbrooke Library, etc., Journal to Stella, (Dutton, also Putnam); Letters, in Eighteenth Century Letters and Letter Writers, ed. by T.B. Johnson. Life: by L. Stephen (English Men of Letters); by Collins; by Craik; by J. Forster; by Macaulay; by Walter Scott; by Johnson, in Lives of the Poets. Criticism: Essays, by Thackeray, in English Humorists; by A. Dobson, in Eighteenth Century Vignettes; by Masson, in the Three Devils and Other Essays.

Addison. Texts: Works, in Bohn's British Classics; Selections, in Athenaeum Press, etc. Life: by Lucy Aiken; by Courthope (English Men of Letters); by Johnson, in Lives of the Poets. Criticism: Essays, by Macaulay; by Thackeray.

Steele. Texts: Selections, edited by Carpenter in Athenaeum Press (Ginn and Company); various other Selections published by Putnam, Bangs, in Camelot Series, etc.; Plays, edited by Aitken, in Mermaid712 Series. Life: by Aitken; by A. Dobson (English Worthies713 Series). Criticism: Essays by Thackeray; by Dobson, in Eighteenth Century Vignettes.

Johnson. Texts: Works, edited by Walesby, 11 vols. (Oxford, 1825); the same, edited by G.B. Hill, in Clarendon Press. Essays, edited by G.B. Hill (Dent); the same, in Camelot series; Rasselas, various school editions, by Ginn and Company, Holt, etc.; Selections from Lives of the Poets, with Macaulay's Life of Johnson, edited by Matthew Arnold (Macmillan). Life: Boswell's Life of Johnson, in Everyman's Library, Temple Classics, Library of English Classics, etc.; by L. Stephen (English Men of Letters); by Grant. Criticism: G.B. Hill's Dr. Johnson, his Friends and Critics; Essays, by L. Stephen, in Hours in a Library; by Macaulay, Birrell, etc.

Boswell. Texts: Life of Johnson, edited by G.B. Hill (London, 1874); various other editions (see above). Life: by Fitzgerald (London, 1891); Roger's Boswelliana (London, 1874). Whitfield's Some Eighteenth Century Men of Letters.

Burke. Texts: Works, 12 vols. (Boston, 1871); reprinted, 6 vols., in Bohn's Library; Selected Works, edited by Payne, in Clarendon Press; On the Sublime and Beautiful, in Temple Classics. For various speeches, see Selections for Reading, above. Life: by Prior; by Morley (English Men of Letters). Criticism: Essay, by Birrell, in Obiter Dicta. See also Dowden's French Revolution and English Literature, and Woodrow Wilson's Mere Literature.

Gibbon. Texts: Decline and Fall of the Roman Empire, edited by Bury, 7 vols. (London, 1896-1900); various other editions; The Student's Gibbon, abridged (Murray); Memoirs, edited by Emerson, in Athenaeum Press (Ginn and Company). Life: by Morison (English Men of Letters). Criticism: Essays, by Birrell, in Collected Essays and Res Judicatae; by Stephen, in Studies of a Biographer; by Robertson, in Pioneer Humanists; by Frederick Harrison, in Ruskin and Other Literary Estimates; by Bagehot, in Literary Studies; by Sainte-Beuve, in English Portraits. See also Anton's Masters in History.

Sheridan. Texts: Speeches, 5 vols. (London, 1816); Plays, edited by W.F. Rae (London, 1902); the same, edited by R. Dircks, in Camelot Series; Major Dramas, in Athenaeum Press; Plays also in Morley's Universal Library, Macmillan's English Classics, etc. Life: by Rae; by M. Oliphant (English Men of Letters); by L. Sanders (Great Writers).

Gray. Texts: Works, edited by Gosse (Macmillan); Poems, in Routledge's Pocket Library, Chandos Classics, etc.; Selections, in Athenaeum Press, etc.; Letters, edited by D.C. Tovey (Bohn). Life: by Gosse (English Men of Letters). Criticism: Essays, by Lowell, in Latest Literary Essays; by M. Arnold, in Essays in Criticism; by L. Stephen, in Hours in a Library; by A. Dobson, in Eighteenth Century Vignettes.

Goldsmith. Texts: edited by Masson, Globe edition; Works, edited by Aiken and Tuckerman (Crowell); the same, edited by A. Dobson (Dent); Morley's Universal Library; Arber's The Goldsmith Anthology (Frowde). See also Selections for Reading, above. Life: by Washington Irving; by A. Dobson (Great Writer's Series); by Black (English Men of Letters); by J. Forster; by Prior. Criticism: Essays, by Macaulay; by Thackeray; by De Quincey; by A. Dobson, in Miscellanies.

Cowper. Texts: Works, Globe and Aldine editions; also in Chandos Classics; Selections, in Athenasum Press, Canterbury Poets, etc. The Correspondence of William Cowper, edited by T. Wright, 4 vols. (Dodd, Mead714 & Company). Life: by Goldwin Smith (English Men of Letters); by Wright; by Southey. Criticism: Essays, by L. Stephen; by Bagehot; by Sainte-Beuve; by Birrell; by Stopford Brooke; by A. Dobson (see above). See also Woodberry's Makers715 of Literature.

Burns. Texts: Works, Cambridge Poets Edition (containing Henley's Study of Burns), Globe and Aldine editions, Clarendon Press, Canterbury Poets, etc.; Selections, in Athenaeum Press, etc.; Letters, in Camelot Series. Life: by Cunningham; by Henley; by Setoun; by Blackie (Great Writers); by Shairp (English Men of Letters). Criticism: Essays, by Carlyle; by R.L. Stevenson, in Familiar Studies; by Hazlitt, in Lectures on the English Poets; by Stopford Brooke, in Theology in the English Poets; by J. Forster, in Great Teachers.

Blake. Texts: Poems, Aldine edition; also in Canterbury Poets; Complete Works, edited by Ellis and Yeats (London, 1893); Selections, edited by W.B. Yeats, in the Muses' Library (Dutton); Letters, with Life by F. Tatham, edited by A.G.B. Russell (Scribner's, 1896). Life: by Gilchrist; by Story; by Symons. Criticism: Swinburne's William Blake, a Critical Study; Ellis's The Real Blake (McClure, 1907); Elizabeth Cary's The Art of William Blake (Moffat, Yard & Company, 1907). Essay, by A.C. Benson, in Essays.

Thomson. Texts: Works, Aldine edition; The Seasons, and Castle of Indolence, in Clarendon Press, etc. Life: by Bayne; by G.B. Macaulay (English Men of Letters). Essay, by Hazlitt, in Lectures on the English Poets.

Collins. Works, edited by Bronson, in Athenaeum Press; also in Aldine edition. Life: by Johnson, in Lives of the Poets. Essay, by Swinburne, in Miscellanies. See also Beers's English Romanticism in the Eighteenth Century.

Crabbe. Works, with memoir394 by his son, G. Crabbe, 8 vols. (London, 1834-1835); Poems, edited by A.W. Ward, 3 vols., in Cambridge English Classics (Cambridge, 1905); Selections, in Temple Classics, Canterbury Poets, etc. Life: by Kebbel (Great Writers); by Ainger (English Men of Letters). Essays, by L. Stephen, in Hours in a Library; by Woodberry, in Makers of Literature; by Saintsbury, in Essays in English Literature; by Courthope, in Ward's English Poets; by Edward Fitzgerald, in Miscellanies; by Hazlitt, in Spirit of the Age.

Macpherson. Texts: Ossian, in Canterbury Poets; Poems, translated by Macpherson, edited by Todd (London, 1888). Life and Letters, edited by Saunders (London, 1894). Criticism: J.S. Smart's James Macpherson (Nutt, 1905). See also Beers's English Romanticism. For relation of Macpherson's work to the original Ossian, see Dean of Lismore's Book, edited by MacLauchlan (Edinburgh, 1862); also Poems of Ossian, translated by Clerk (Edinburgh, 1870).

Chatterton. Works, edited by Skeat (London, 1875); Poems, in Canterbury Poets. Life: by Russell; by Wilson; Masson's Chatterton, a Biography. Criticism: C.E. Russell's Thomas Chatterton (Moffatt, Yard & Company); Essays, by Watts-Dunton, in Ward's English Poets; by Masson, in Essays Biographical and Critical. See also Beers's English Romanticism.

Percy. Reliques, edited by Wheatley (London, 1891); the same, in Everyman's Library, Chandos Classics, etc. Essay, by J.W. Hales, Revival of Ballad Poetry, in Folia Literaria. See also Beers's English Romanticism, etc. (Special works, above.)

Defoe. Texts: Romances and Narratives, edited by Aitken (Dent); Poems and Pamphlets, in Arber's English Garner716, vol. 8; school editions of Robinson Crusoe, and Journal of the Plague Year (Ginn and Company, etc.); Captain Singleton, and Memoirs of a Cavalier, in Everyman's Library; Early Writings, in Carisbrooke Library (Routledge). Life: by W. Lee; by Minto (English Men of Letters); by Wright; also in Westminster Biographies (Small, Maynard). Essay, by L. Stephen, in Hours in a Library.

Richardson. Works: edited by L. Stephen (London, 1883); edited by Philips, with life (New York, 1901); Correspondence, edited by A. Barbauld, 6 vols. (London, 1804). Life: by Thomson; by A. Dobson. Essays, by L. Stephen, in Hours in a Library; by A. Dobson, in Eighteenth Century Vignettes.

Fielding. Works: Temple Edition, edited by Saintsbury (Dent); Selected Essays, in Athenaeum Press; Journal of a Voyage to Lisbon, in Cassell's National Library. Life: by Dobson (English Men of Letters); Lawrence's Life and Times of Fielding. Essays, by Lowell; by Thackeray; by L. Stephen; by A. Dobson (see above); by G.B. Smith, in Poets and Novelists.

Smollett. Works, edited by Saintsbury (London, 1895); Works, edited by Henley (Scribner). Life: by Hannah (Great Writers); by Smeaton; by Chambers717. Essays, by Thackeray; by Henley; by Dobson, in Eighteenth Century Vignettes.

Sterne. Works: edited by Saintsbury (Dent); Tristram Shandy, and A Sentimental Journey, in Temple Classics, Morley's Universal Library, etc. Life: by Fitzgerald; by Traill (English Men of Letters); Life and Times, by W.L. Cross (Macmillan). Essays, by Thackeray; by Bagehot, in Literary Studies.

Horace Walpole. Texts: Castle of Otranto, in King's Classics, Cassell's National Library, etc. Letters, edited by C.D. Yonge. Morley's Walpole, in Twelve English Statesmen (Macmillan). Essay, by L. Stephen, in Hours in a Library. See also Beers's English Romanticism.

Frances Burney (Madame d'Arblay). Texts: Evelina, in Temple Classics, 2 vols. (Macmillan). Diary and Letters, edited by S.C. Woolsey. Seeley's Fanny Burney and her Friends. Essay, by Macaulay.

Suggestive Questions. 1. Describe briefly the social development of the eighteenth century. What effect did this have on literature? What accounts for the prevalence of prose? What influence did the first newspapers exert on life and literature? How do the readers of this age compare with those of the Age of Elizabeth?

2. How do you explain the fact that satire was largely used in both prose and poetry? Name the principal satires of the age. What is the chief object of satire? of literature? How do the two objects conflict?

3. What is the meaning of the term "classicism," as applied to the literature of this age? Did the classicism of Johnson, for instance, have any relation to classic literature in its true sense? Why is this period called the Augustan Age? Why was Shakespeare not regarded by this age as a classical writer?

4. Pope. In what respect is Pope a unique writer? Tell briefly the story of his life. What are his principal works? How does he reflect the critical spirit of his age? What are the chief characteristics of his poetry? What do you find to copy in his style? What is lacking in his poetry? Compare his subjects with those of Burns of Tennyson or Milton, for instance. How would Chaucer or Burns tell the story of the Rape of the Lock? What similarity do you find between Pope's poetry and Addison's prose?

5. Swift. What is the general character of Swift's work? Name his chief satires. What is there to copy in his style? Does he ever strive for ornament115 or effect in writing? Compare Swift's Gulliver's Travels with Defoe's Robinson Crusoe, in style, purpose of writing, and interest. What resemblances do you find in these two contemporary writers? Can you explain the continued popularity of Gulliver's Travels?

6. Addison and Steele. What great work did Addison and Steele do for literature? Make a brief comparison between these two men, having in mind their purpose, humor, knowledge of life, and human sympathy, as shown, for instance, in No. 112 and No. 2 of the Spectator Essays. Compare their humor with that of Swift. How is their work a preparation for the novel?

7. Johnson. For what is Dr. Johnson famous in literature? Can you explain his great influence? Compare his style with that of Swift or Defoe. What are the remarkable elements in Boswell's Life of Johnson? Write a description of an imaginary meeting of Johnson, Goldsmith, and Boswell in a coffeehouse.

8. Burke. For what is Burke remarkable? What great objects influenced him in the three periods of his life? Why has he been called a romantic poet who speaks in prose? Compare his use of imagery with that of other writers of the period. What is there to copy and what is there to avoid in his style? Can you trace the influence of Burke's American speeches on later English politics? What similarities do you find between Burke and Milton, as revealed in their prose works?

9. Gibbon. For what is Gibbon "worthy to be remembered"? Why does he mark an epoch in historical writing? What is meant by the scientific method of writing history? Compare Gibbon's style with that of Johnson. Contrast it with that of Swift, and also with that of some modern historian, Parkman, for example.

10. What is meant by the term "romanticism?" What are its chief characteristics? How does it differ from classicism? Illustrate the meaning from the work of Gray, Cowper, or Burns. Can you explain the prevalence of melancholy in romanticism?

11. Gray. What are the chief works of Gray? Can you explain the continued popularity of his "Elegy"? What romantic elements are found in his poetry? What resemblances and what differences do you find in the works of Gray and of Goldsmith?

12. Goldsmith. Tell the story of Goldsmith's life. What are his chief works? Show from The Deserted Village the romantic and the so-called classic elements in his work. What great work did he do for the early novel, in The Vicar of Wakefield? Can you explain the popularity of She Stoops to Conquer? Name some of Goldsmith's characters who have found a permanent place in our literature. What personal reminiscences have you noted in The Traveller, The Deserted Village, and She Stoops to Conquer?

13. Cowper. Describe Cowper's The Task. How does it show the romantic spirit? Give passages from "John Gilpin" to illustrate Cowper's humor.

14. Burns. Tell the story of Burns's life. Some one has said, "The measure of a man's sin is the difference between what he is and what he might be." Comment upon this, with reference to Burns. What is the general character of his poetry? Why is he called the poet of common men? What subjects does he choose for his poetry? Compare him, in this respect, with Pope. What elements in the poet's character are revealed in such poems as "To a Mouse" and "To a Mountain Daisy"? How do Burns and Gray regard nature? What poems show his sympathy with the French Revolution, and with democracy? Read "The Cotter's Saturday Night," and explain its enduring interest. Can you explain the secret of Burns's great popularity?

15. Blake. What are the characteristics of Blake's poetry? Can you explain why Blake, though the greatest poetic genius of the age, is so little appreciated?

16. Percy. In what respect did Percy's Reliques influence the romantic movement? What are the defects in his collection of ballads? Can you explain why such a crude poem as "Chevy Chase" should be popular with an age that delighted in Pope's "Essay on Man"?

17. Macpherson. What is meant by Macpherson's "Ossian"? Can you account for the remarkable success of the Ossianic forgeries?

18. Chatterton. Tell the story of Chatterton and the Rowley Poems. Read Chatterton's "Bristowe Tragedie," and compare it, in style and interest, with the old ballads, like "The Battle of Otterburn" or "The Hunting of the Cheviot" (all in Manly's English Poetry).

19. The First Novelists. What is meant by the modern novel? How does it differ from the early romance and from the adventure story? What are some of the precursors of the novel? What was the purpose of stories modeled after Don Quixote? What is the significance of Pamela? What elements did Fielding add to the novel? What good work did Goldsmith's Vicar of Wakefield accomplish? Compare Goldsmith, in this respect, with Steele and Addison.
CHRONOLOGY
End of Seventeenth and the Eighteenth Century
HISTORY     LITERATURE
1689.     William and Mary     1683-1719.     Defoe's early writings
            Bill of Rights.
            Toleration Act
        1695.     Press made free
1700(?)     Beginning of London clubs
1702.     Anne (d. 1714)
            War of Spanish Succession
        1702.     First daily newspaper
1704.     Battle of Blenheim     1704.     Addison's The Campaign
            Swift's Tale of a Tub
1707.     union of England and Scotland
        1709.     The Tatler
            Johnson born (d. 1784)
        1710-1713.     Swift in London. Journal
            to Stella
        1711.     The Spectator
        1712.     Pope's Rape of the Lock
1714.     George I (d. 1727)
        1719.     Robinson Crusoe
1721.     Cabinet government, Walpole
    first prime minister
        1726.     Gulliver's Travels
        1726-1730.     Thomson's The Seasons
1727.     George II (d. 1760)
        1732-1734.     Essay on Man
1738.     Rise of Methodism
        1740.     Richardson's Pamela
1740.     War of Austrian Succession
        1742.     Fielding's Joesph Andrews
1746.     Jacobite Rebellion
        1749.     Fielding's Tom Jones
        1750-1752.     Johnson's The Rambler
1750-1757.     Conquest of India     1751.     Gray's Elegy
        1755.     Johnson's Dictionary
1756.     War with France
1759.     Wolf at Quebec
1760.     George III (d. 1820)     1760-1767.     Sterne's Tristram Shandy
        1764.     Johnson's Literary Club
1765.     Stamp Act     1765.     Percy's Reliques
        1766.     Goldsmith's Vicar of
            Wakefield
        1770.     Goldsmith's Deserted Village
        1771.     Beginning of great newspapers
1773.     Boston Tea Party
1774.     Howard's prison reforms     1774-1775.     Burke's American speeches
1775.     American Revolution     1776-1788.     Gibbon's Rome
1776.     Declaration of Independence     1779.     Cowper's Olney Hymns
        1779-81.     Johnson's Lives of the Poets
1783.     Treaty of Paris     1783.     Blake's Poetical Sketches
        1785.     Cowper's The Task
            The London Times
1786.     Trial of Warren Hastings
        1786.     Burns's first poems (the
            Kilmarnock Burns)
            Burke's Warren Hastings
1789-1799.     French Revolution
        1790.     Burke's French Revolution
        1791.     Boswell's Life of Johnson
1793.     War with France

点击收听单词发音收听单词发音  

1 banished b779057f354f1ec8efd5dd1adee731df     
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》
2 banish nu8zD     
vt.放逐,驱逐;消除,排除
参考例句:
  • The doctor advised her to banish fear and anxiety.医生劝她消除恐惧和忧虑。
  • He tried to banish gloom from his thought.他试图驱除心中的忧愁。
3 remarkable 8Vbx6     
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。
4 isolated bqmzTd     
adj.与世隔绝的
参考例句:
  • His bad behaviour was just an isolated incident. 他的不良行为只是个别事件。
  • Patients with the disease should be isolated. 这种病的患者应予以隔离。
5 sociability 37b33c93dded45f594b3deffb0ae3e81     
n.好交际,社交性,善于交际
参考例句:
  • A fire of withered pine boughs added sociability to the gathering. 枯松枝生起的篝火给这次聚合增添了随和、友善的气氛。 来自辞典例句
  • A certain sociability degree is a specific character of most plants. 特定的群集度是多数植物特有的特征。 来自辞典例句
6 filthy ZgOzj     
adj.卑劣的;恶劣的,肮脏的
参考例句:
  • The whole river has been fouled up with filthy waste from factories.整条河都被工厂的污秽废物污染了。
  • You really should throw out that filthy old sofa and get a new one.你真的应该扔掉那张肮脏的旧沙发,然后再去买张新的。
7 infested f7396944f0992504a7691e558eca6411     
adj.为患的,大批滋生的(常与with搭配)v.害虫、野兽大批出没于( infest的过去式和过去分词 );遍布于
参考例句:
  • The kitchen was infested with ants. 厨房里到处是蚂蚁。
  • The apartments were infested with rats and roaches. 公寓里面到处都是老鼠和蟑螂。
8 ward LhbwY     
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。
9 prevailing E1ozF     
adj.盛行的;占优势的;主要的
参考例句:
  • She wears a fashionable hair style prevailing in the city.她的发型是这个城市流行的款式。
  • This reflects attitudes and values prevailing in society.这反映了社会上盛行的态度和价值观。
10 elegance QjPzj     
n.优雅;优美,雅致;精致,巧妙
参考例句:
  • The furnishings in the room imparted an air of elegance.这个房间的家具带给这房间一种优雅的气氛。
  • John has been known for his sartorial elegance.约翰因为衣着讲究而出名。
11 dissenters dc2babdb66e7f4957a7f61e6dbf4b71e     
n.持异议者,持不同意见者( dissenter的名词复数 )
参考例句:
  • He attacked the indulgence shown to religious dissenters. 他抨击对宗教上持不同政见者表现出的宽容。 来自《简明英汉词典》
  • (The dissenters would have allowed even more leeway to the Secretary.) (持异议者还会给行政长官留有更多的余地。) 来自英汉非文学 - 行政法
12 dissenter 7t4xU     
n.反对者
参考例句:
  • The role of the dissenter is not for the weak-kneed.反对者的角色不是软弱之人所能够担当的。
  • The Party does not tolerate dissenters in its ranks.该政党不允许其成员中存在异见分子。
13 offset mIZx8     
n.分支,补偿;v.抵消,补偿
参考例句:
  • Their wage increases would be offset by higher prices.他们增加的工资会被物价上涨所抵消。
  • He put up his prices to offset the increased cost of materials.他提高了售价以补偿材料成本的增加。
14 antagonisms 6dfb1d9af48ee2db78f993b6cb89e237     
对抗,敌对( antagonism的名词复数 )
参考例句:
  • The fundamental antagonisms in such an arrangement were obvious. 在这样一种安排中,基本矛盾很明显。
  • The antagonisms between the two empires and systems were mortal. 这两个帝国和两种制度之间,有着不共戴天的仇恨。
15 unity 4kQwT     
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。
16 philosophical rN5xh     
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。
17 zeal mMqzR     
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。
18 scripture WZUx4     
n.经文,圣书,手稿;Scripture:(常用复数)《圣经》,《圣经》中的一段
参考例句:
  • The scripture states that God did not want us to be alone.圣经指出上帝并不是想让我们独身一人生活。
  • They invoked Hindu scripture to justify their position.他们援引印度教的经文为他们的立场辩护。
19 satire BCtzM     
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。
20 followers 5c342ee9ce1bf07932a1f66af2be7652     
追随者( follower的名词复数 ); 用户; 契据的附面; 从动件
参考例句:
  • the followers of Mahatma Gandhi 圣雄甘地的拥护者
  • The reformer soon gathered a band of followers round him. 改革者很快就获得一群追随者支持他。
21 borough EdRyS     
n.享有自治权的市镇;(英)自治市镇
参考例句:
  • He was slated for borough president.他被提名做自治区主席。
  • That's what happened to Harry Barritt of London's Bromley borough.住在伦敦的布罗姆利自治市的哈里.巴里特就经历了此事。
22 patriotic T3Izu     
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。
23 patriot a3kzu     
n.爱国者,爱国主义者
参考例句:
  • He avowed himself a patriot.他自称自己是爱国者。
  • He is a patriot who has won the admiration of the French already.他是一个已经赢得法国人敬仰的爱国者。
24 cynical Dnbz9     
adj.(对人性或动机)怀疑的,不信世道向善的
参考例句:
  • The enormous difficulty makes him cynical about the feasibility of the idea.由于困难很大,他对这个主意是否可行持怀疑态度。
  • He was cynical that any good could come of democracy.他不相信民主会带来什么好处。
25 corrupt 4zTxn     
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。
26 premier R19z3     
adj.首要的;n.总理,首相
参考例句:
  • The Irish Premier is paying an official visit to Britain.爱尔兰总理正在对英国进行正式访问。
  • He requested that the premier grant him an internview.他要求那位总理接见他一次。
27 revival UWixU     
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。
28 untold ljhw1     
adj.数不清的,无数的
参考例句:
  • She has done untold damage to our chances.她给我们的机遇造成了不可估量的损害。
  • They suffered untold terrors in the dark and huddled together for comfort.他们遭受着黑暗中的难以言传的种种恐怖,因而只好挤在一堆互相壮胆。
29 noted 5n4zXc     
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。
30 poetic b2PzT     
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。
31 poetical 7c9cba40bd406e674afef9ffe64babcd     
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
32 inadequate 2kzyk     
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。
33 fetter Vzbyf     
n./vt.脚镣,束缚
参考例句:
  • This does not mean that we wish to fetter the trade union movement.这并不意味着我们想限制工会运动。
  • Reform will be deepened to remove the institutional obstacles that fetter the development of productive forces.继续深化改革,突破束缚生产力发展的体制性障碍。
34 excellence ZnhxM     
n.优秀,杰出,(pl.)优点,美德
参考例句:
  • His art has reached a high degree of excellence.他的艺术已达到炉火纯青的地步。
  • My performance is far below excellence.我的表演离优秀还差得远呢。
35 graceful deHza     
adj.优美的,优雅的;得体的
参考例句:
  • His movements on the parallel bars were very graceful.他的双杠动作可帅了!
  • The ballet dancer is so graceful.芭蕾舞演员的姿态是如此的优美。
36 terse GInz1     
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。
37 vigor yLHz0     
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。
38 satires 678f7ff8bcf417e9cccb7fbba8173f6c     
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。
39 artistic IeWyG     
adj.艺术(家)的,美术(家)的;善于艺术创作的
参考例句:
  • The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
  • These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。
40 sonorous qFMyv     
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。
41 eloquence 6mVyM     
n.雄辩;口才,修辞
参考例句:
  • I am afraid my eloquence did not avail against the facts.恐怕我的雄辩也无补于事实了。
  • The people were charmed by his eloquence.人们被他的口才迷住了。
42 orations f18fbc88c8170b051d952cb477fd24b1     
n.(正式仪式中的)演说,演讲( oration的名词复数 )
参考例句:
  • The young official added a genuine note of emotion amid the pompous funeral orations. 这位年轻的高级官员,在冗长的葬礼演讲中加了一段充满感情的话。 来自辞典例句
  • It has to go down as one of the great orations of all times. 它去作为一个伟大的演讲所有次。 来自互联网
43 prosaic i0szo     
adj.单调的,无趣的
参考例句:
  • The truth is more prosaic.真相更加乏味。
  • It was a prosaic description of the scene.这是对场景没有想象力的一个描述。
44 witty GMmz0     
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。
45 vice NU0zQ     
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。
46 refinement kinyX     
n.文雅;高尚;精美;精制;精炼
参考例句:
  • Sally is a woman of great refinement and beauty. 莎莉是个温文尔雅又很漂亮的女士。
  • Good manners and correct speech are marks of refinement.彬彬有礼和谈吐得体是文雅的标志。
47 strife NrdyZ     
n.争吵,冲突,倾轧,竞争
参考例句:
  • We do not intend to be drawn into the internal strife.我们不想卷入内乱之中。
  • Money is a major cause of strife in many marriages.金钱是造成很多婚姻不和的一个主要原因。
48 satirizing e1b2ec6f22444ccb60c6bfa45e15046d     
v.讽刺,讥讽( satirize的现在分词 )
参考例句:
  • River morals " is novel satirizing the knight novel. " 《堂吉河德》是一部讽刺骑士小说的小说。 来自互联网
  • Marlows delights in excesses, until sometimes he seems to be satirizing his own manner. 马洛老爱走极端,直到他有时嘲笑自己的态度。 来自互联网
49 ridicule fCwzv     
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。
50 satirist KCrzN     
n.讽刺诗作者,讽刺家,爱挖苦别人的人
参考例句:
  • Voltaire was a famous French satirist.伏尔泰是法国一位著名的讽刺作家。
  • Perhaps the first to chronicle this dream was the Greek satirist Lucian.也许第一个记述这一梦想的要算是希腊的讽刺作家露西安了。
51 labor P9Tzs     
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。
52 laborer 52xxc     
n.劳动者,劳工
参考例句:
  • Her husband had been a farm laborer.她丈夫以前是个农场雇工。
  • He worked as a casual laborer and did not earn much.他当临时工,没有赚多少钱。
53 constructive AZDyr     
adj.建设的,建设性的
参考例句:
  • We welcome constructive criticism.我们乐意接受有建设性的批评。
  • He is beginning to deal with his anger in a constructive way.他开始用建设性的方法处理自己的怒气。
54 meekly meekly     
adv.温顺地,逆来顺受地
参考例句:
  • He stood aside meekly when the new policy was proposed. 当有人提出新政策时,他唯唯诺诺地站 来自《简明英汉词典》
  • He meekly accepted the rebuke. 他顺从地接受了批评。 来自《简明英汉词典》
55 applied Tz2zXA     
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。
56 reign pBbzx     
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。
57 entirely 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。
58 patriotism 63lzt     
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。
59 delightful 6xzxT     
adj.令人高兴的,使人快乐的
参考例句:
  • We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
  • Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。
60 professed 7151fdd4a4d35a0f09eaf7f0f3faf295     
公开声称的,伪称的,已立誓信教的
参考例句:
  • These, at least, were their professed reasons for pulling out of the deal. 至少这些是他们自称退出这宗交易的理由。
  • Her manner professed a gaiety that she did not feel. 她的神态显出一种她并未实际感受到的快乐。
61 doffing ebc79b13e7d3a455d295cda3e5ebbe8c     
n.下筒,落纱v.脱去,(尤指)脱帽( doff的现在分词 )
参考例句:
  • The sige of the package in use determines the frequency of doffing. 所用卷装的尺寸决定了落纱的次数。 来自辞典例句
  • Obstruction in the movement of Aprons during doffing in modern cards. 新型梳棉机在落卷时皮板输送带(或皮圈,围裙)运行受阻。 来自互联网
62 wig 1gRwR     
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。
63 sham RsxyV     
n./adj.假冒(的),虚伪(的)
参考例句:
  • They cunningly played the game of sham peace.他们狡滑地玩弄假和平的把戏。
  • His love was a mere sham.他的爱情是虚假的。
64 cult 3nPzm     
n.异教,邪教;时尚,狂热的崇拜
参考例句:
  • Her books aren't bestsellers,but they have a certain cult following.她的书算不上畅销书,但有一定的崇拜者。
  • The cult of sun worship is probably the most primitive one.太阳崇拜仪式或许是最为原始的一种。
65 lyric R8RzA     
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。
66 lyrics ko5zoz     
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。
67 epics a6d7b651e63ea6619a4e096bc4fb9453     
n.叙事诗( epic的名词复数 );壮举;惊人之举;史诗般的电影(或书籍)
参考例句:
  • one of the great Hindu epics 伟大的印度教史诗之一
  • Homer Iliad and Milton's Paradise Lost are epics. 荷马的《伊利亚特》和弥尔顿的《失乐园》是史诗。 来自互联网
68 epic ui5zz     
n.史诗,叙事诗;adj.史诗般的,壮丽的
参考例句:
  • I gave up my epic and wrote this little tale instead.我放弃了写叙事诗,而写了这个小故事。
  • They held a banquet of epic proportions.他们举行了盛大的宴会。
69 satiric fYNxQ     
adj.讽刺的,挖苦的
参考例句:
  • Looking at her satiric parent she only gave a little laugh.她望着她那挖苦人的父亲,只讪讪地笑了一下。
  • His satiric poem spared neither the politicians nor the merchants.政客们和商人们都未能免于遭受他的诗篇的讽刺。
70 remarkably EkPzTW     
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。
71 whim 2gywE     
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。
72 neatly ynZzBp     
adv.整洁地,干净地,灵巧地,熟练地
参考例句:
  • Sailors know how to wind up a long rope neatly.水手们知道怎样把一条大绳利落地缠好。
  • The child's dress is neatly gathered at the neck.那孩子的衣服在领口处打着整齐的皱褶。
73 clergy SnZy2     
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。
74 livelihood sppzWF     
n.生计,谋生之道
参考例句:
  • Appropriate arrangements will be made for their work and livelihood.他们的工作和生活会得到妥善安排。
  • My father gained a bare livelihood of family by his own hands.父亲靠自己的双手勉强维持家计。
75 temperament 7INzf     
n.气质,性格,性情
参考例句:
  • The analysis of what kind of temperament you possess is vital.分析一下你有什么样的气质是十分重要的。
  • Success often depends on temperament.成功常常取决于一个人的性格。
76 deformed iutzwV     
adj.畸形的;变形的;丑的,破相了的
参考例句:
  • He was born with a deformed right leg.他出生时右腿畸形。
  • His body was deformed by leprosy.他的身体因为麻风病变形了。
77 dwarfish Gr4x1     
a.像侏儒的,矮小的
参考例句:
  • Her dwarfish spouse still smoked his cigar and drank his rum without heeding her. 她那矮老公还在吸他的雪茄,喝他的蔗酒,睬也不睬她。
  • Rest no longer satisfied with thy dwarfish attainments, but press forward to things and heavenly. 不要再满足于属世的成就,要努力奔向属天的事物。
78 dwarf EkjzH     
n.矮子,侏儒,矮小的动植物;vt.使…矮小
参考例句:
  • The dwarf's long arms were not proportional to his height.那侏儒的长臂与他的身高不成比例。
  • The dwarf shrugged his shoulders and shook his head. 矮子耸耸肩膀,摇摇头。
79 apparently tMmyQ     
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。
80 instinctively 2qezD2     
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》
81 peevish h35zj     
adj.易怒的,坏脾气的
参考例句:
  • A peevish child is unhappy and makes others unhappy.一个脾气暴躁的孩子自己不高兴也使别人不高兴。
  • She glared down at me with a peevish expression on her face.她低头瞪着我,一脸怒气。
82 admiration afpyA     
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。
83 browsed 86f80e78b89bd7dd8de908c9e6adfe44     
v.吃草( browse的过去式和过去分词 );随意翻阅;(在商店里)随便看看;(在计算机上)浏览信息
参考例句:
  • I browsed through some magazines while I waited. 我边等边浏览几本杂志。 来自辞典例句
  • I browsed through the book, looking at page after page. 我翻开了一下全书,一页又一页。 来自互联网
84 rape PAQzh     
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。
85 judgment e3xxC     
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。
86 judgments 2a483d435ecb48acb69a6f4c4dd1a836     
判断( judgment的名词复数 ); 鉴定; 评价; 审判
参考例句:
  • A peculiar austerity marked his judgments of modern life. 他对现代生活的批评带着一种特殊的苛刻。
  • He is swift with his judgments. 他判断迅速。
87 villa xHayI     
n.别墅,城郊小屋
参考例句:
  • We rented a villa in France for the summer holidays.我们在法国租了一幢别墅消夏。
  • We are quartered in a beautiful villa.我们住在一栋漂亮的别墅里。
88 utterly ZfpzM1     
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。
89 physically iNix5     
adj.物质上,体格上,身体上,按自然规律
参考例句:
  • He was out of sorts physically,as well as disordered mentally.他浑身不舒服,心绪也很乱。
  • Every time I think about it I feel physically sick.一想起那件事我就感到极恶心。
90 retired Njhzyv     
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。
91 maxims aa76c066930d237742b409ad104a416f     
n.格言,座右铭( maxim的名词复数 )
参考例句:
  • Courts also draw freely on traditional maxims of construction. 法院也自由吸收传统的解释准则。 来自英汉非文学 - 行政法
  • There are variant formulations of some of the maxims. 有些准则有多种表达方式。 来自辞典例句
92 err 2izzk     
vi.犯错误,出差错
参考例句:
  • He did not err by a hair's breadth in his calculation.他的计算结果一丝不差。
  • The arrows err not from their aim.箭无虚发。
93 quotation 7S6xV     
n.引文,引语,语录;报价,牌价,行情
参考例句:
  • He finished his speech with a quotation from Shakespeare.他讲话结束时引用了莎士比亚的语录。
  • The quotation is omitted here.此处引文从略。
94 snipped 826fea38bd27326bbaa2b6f0680331b5     
v.剪( snip的过去式和过去分词 )
参考例句:
  • He snipped off the corner of the packet. 他将包的一角剪了下来。 来自辞典例句
  • The police officer snipped the tape and untied the hostage. 警方把胶带剪断,松绑了人质。 来自互联网
95 plunged 06a599a54b33c9d941718dccc7739582     
v.颠簸( plunge的过去式和过去分词 );暴跌;骤降;突降
参考例句:
  • The train derailed and plunged into the river. 火车脱轨栽进了河里。
  • She lost her balance and plunged 100 feet to her death. 她没有站稳,从100英尺的高处跌下摔死了。
96 plunge 228zO     
v.跳入,(使)投入,(使)陷入;猛冲
参考例句:
  • Test pool's water temperature before you plunge in.在你跳入之前你应该测试水温。
  • That would plunge them in the broil of the two countries.那将会使他们陷入这两国的争斗之中。
97 ballad zWozz     
n.歌谣,民谣,流行爱情歌曲
参考例句:
  • This poem has the distinctive flavour of a ballad.这首诗有民歌风味。
  • This is a romantic ballad that is pure corn.这是一首极为伤感的浪漫小曲。
98 satirized 7f0c85cd94cf2c9a93b9d3769890149e     
v.讽刺,讥讽( satirize的过去式和过去分词 )
参考例句:
  • How could he stand being satirized by you like this? 你这么讽刺他,他怎么能搁得住。 来自互联网
  • The essay bitterly satirized some unhealthy tendencies in society. 这篇杂文辛辣地讽刺了社会上的一些不良现象。 来自互联网
99 satirize gCEzO     
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。
100 lengthen n34y1     
vt.使伸长,延长
参考例句:
  • He asked the tailor to lengthen his coat.他请裁缝把他的外衣放长些。
  • The teacher told her to lengthen her paper out.老师让她把论文加长。
101 burlesque scEyq     
v.嘲弄,戏仿;n.嘲弄,取笑,滑稽模仿
参考例句:
  • Our comic play was a burlesque of a Shakespearean tragedy.我们的喜剧是对莎士比亚一出悲剧的讽刺性模仿。
  • He shouldn't burlesque the elder.他不应模仿那长者。
102 gnomes 4d2c677a8e6ad6ce060d276f3fcfc429     
n.矮子( gnome的名词复数 );侏儒;(尤指金融市场上搞投机的)银行家;守护神
参考例句:
  • I have a wonderful recipe: bring two gnomes, two eggs. 我有一个绝妙的配方:准备两个侏儒,两个鸡蛋。 来自互联网
  • Illusions cast by gnomes from a small village have started becoming real. 53侏儒对一个小村庄施放的幻术开始变为真实。 来自互联网
103 delicacy mxuxS     
n.精致,细微,微妙,精良;美味,佳肴
参考例句:
  • We admired the delicacy of the craftsmanship.我们佩服工艺师精巧的手艺。
  • He sensed the delicacy of the situation.他感觉到了形势的微妙。
104 toil WJezp     
vi.辛劳工作,艰难地行动;n.苦工,难事
参考例句:
  • The wealth comes from the toil of the masses.财富来自大众的辛勤劳动。
  • Every single grain is the result of toil.每一粒粮食都来之不易。
105 boundless kt8zZ     
adj.无限的;无边无际的;巨大的
参考例句:
  • The boundless woods were sleeping in the deep repose of nature.无边无际的森林在大自然静寂的怀抱中酣睡着。
  • His gratitude and devotion to the Party was boundless.他对党无限感激、无限忠诚。
106 bent QQ8yD     
n.爱好,癖好;adj.弯的;决心的,一心的
参考例句:
  • He was fully bent upon the project.他一心扑在这项计划上。
  • We bent over backward to help them.我们尽了最大努力帮助他们。
107 odyssey t5kzU     
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。
108 perfectly 8Mzxb     
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。
109 grandeur hejz9     
n.伟大,崇高,宏伟,庄严,豪华
参考例句:
  • The grandeur of the Great Wall is unmatched.长城的壮观是独一无二的。
  • These ruins sufficiently attest the former grandeur of the place.这些遗迹充分证明此处昔日的宏伟。
110 exulting 2f8f310798e5e8c1b9dd92ff6395ba84     
vi. 欢欣鼓舞,狂喜
参考例句:
  • He leaned back, exulting at the success of his plan. 他向后一靠,为自己计划成功而得意扬扬。
  • Jones was exulting in the consciousness of his integrity. 琼斯意识到自己的忠贞十分高兴。
111 refulgent 9AszX     
adj.辉煌的,灿烂的
参考例句:
  • Middle East has declined since modern era,however it had possessed of refulgent history.中东地区曾有过辉煌的历史,只是在近代以来衰落了。
  • Our target is only one:Autosecu compose refulgent tomorrow! 我们的目标就一个:为安特佳谱写辉煌的明天。
112 azure 6P3yh     
adj.天蓝色的,蔚蓝色的
参考例句:
  • His eyes are azure.他的眼睛是天蓝色的。
  • The sun shone out of a clear azure sky.清朗蔚蓝的天空中阳光明媚。
113 serene PD2zZ     
adj. 安详的,宁静的,平静的
参考例句:
  • He has entered the serene autumn of his life.他已进入了美好的中年时期。
  • He didn't speak much,he just smiled with that serene smile of his.他话不多,只是脸上露出他招牌式的淡定的微笑。
114 gild L64yA     
vt.给…镀金,把…漆成金色,使呈金色
参考例句:
  • The sun transform the gild cupola into dazzling point of light.太阳将这些镀金的圆屋顶变成了闪耀的光点。
  • With Dimitar Berbatov and Wayne Rooney primed to flower anew,Owen can gild the lily.贝巴和鲁尼如今蓄势待发,欧文也可以为曼联锦上添花。
115 ornament u4czn     
v.装饰,美化;n.装饰,装饰物
参考例句:
  • The flowers were put on the table for ornament.花放在桌子上做装饰用。
  • She wears a crystal ornament on her chest.她的前胸戴了一个水晶饰品。
116 ornaments 2bf24c2bab75a8ff45e650a1e4388dec     
n.装饰( ornament的名词复数 );点缀;装饰品;首饰v.装饰,点缀,美化( ornament的第三人称单数 )
参考例句:
  • The shelves were chock-a-block with ornaments. 架子上堆满了装饰品。
  • Playing the piano sets up resonance in those glass ornaments. 一弹钢琴那些玻璃饰物就会产生共振。 来自《简明英汉词典》
117 vindicate zLfzF     
v.为…辩护或辩解,辩明;证明…正确
参考例句:
  • He tried hard to vindicate his honor.他拼命维护自己的名誉。
  • How can you vindicate your behavior to the teacher?你怎样才能向老师证明你的行为是对的呢?
118 vindication 1LpzF     
n.洗冤,证实
参考例句:
  • There is much to be said in vindication of his claim.有很多理由可以提出来为他的要求作辩护。
  • The result was a vindication of all our efforts.这一结果表明我们的一切努力是必要的。
119 accomplished UzwztZ     
adj.有才艺的;有造诣的;达到了的
参考例句:
  • Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
  • Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。
120 discord iPmzl     
n.不和,意见不合,争论,(音乐)不和谐
参考例句:
  • These two answers are in discord.这两个答案不一样。
  • The discord of his music was hard on the ear.他演奏的不和谐音很刺耳。
121 erring a646ae681564dc63eb0b5a3cb51b588e     
做错事的,错误的
参考例句:
  • Instead of bludgeoning our erring comrades, we should help them with criticism. 对犯错误的同志, 要批评帮助,不能一棍子打死。
  • She had too little faith in mankind not to know that they were erring. 她对男人们没有信心,知道他们总要犯错误的。 来自英汉文学 - 嘉莉妹妹
122 abounds e383095f177bb040b7344dc416ce6761     
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》
123 abound wykz4     
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。
124 knave oxsy2     
n.流氓;(纸牌中的)杰克
参考例句:
  • Better be a fool than a knave.宁做傻瓜,不做无赖。
  • Once a knave,ever a knave.一次成无赖,永远是无赖。
125 frightful Ghmxw     
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。
126 mien oDOxl     
n.风采;态度
参考例句:
  • He was a Vietnam veteran with a haunted mien.他是个越战老兵,举止总有些惶然。
  • It was impossible to tell from his mien whether he was offended.从他的神态中难以看出他是否生气了。
127 behold jQKy9     
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。
128 kindly tpUzhQ     
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。
129 rattle 5Alzb     
v.飞奔,碰响;激怒;n.碰撞声;拨浪鼓
参考例句:
  • The baby only shook the rattle and laughed and crowed.孩子只是摇着拨浪鼓,笑着叫着。
  • She could hear the rattle of the teacups.她听见茶具叮当响。
130 tickled 2db1470d48948f1aa50b3cf234843b26     
(使)发痒( tickle的过去式和过去分词 ); (使)愉快,逗乐
参考例句:
  • We were tickled pink to see our friends on television. 在电视中看到我们的一些朋友,我们高兴极了。
  • I tickled the baby's feet and made her laugh. 我胳肢孩子的脚,使她发笑。
131 muse v6CzM     
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。
132 beads 894701f6859a9d5c3c045fd6f355dbf5     
n.(空心)小珠子( bead的名词复数 );水珠;珠子项链
参考例句:
  • a necklace of wooden beads 一条木珠项链
  • Beads of perspiration stood out on his forehead. 他的前额上挂着汗珠。
133 bauble BQ0yv     
n.美观而无价值的饰物
参考例句:
  • That little bauble is not to be compared with this enormous jewel.那个小摆设不能与这个大宝石相比较。
  • A bauble is a showy ornament of little value.廉价珠宝是华而不实的装饰品。
134 controversy 6Z9y0     
n.争论,辩论,争吵
参考例句:
  • That is a fact beyond controversy.那是一个无可争论的事实。
  • We ran the risk of becoming the butt of every controversy.我们要冒使自己在所有的纷争中都成为众矢之的的风险。
135 appreciation Pv9zs     
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。
136 forth Hzdz2     
adv.向前;向外,往外
参考例句:
  • The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
  • He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。
137 superfluous EU6zf     
adj.过多的,过剩的,多余的
参考例句:
  • She fined away superfluous matter in the design. 她删去了这图案中多余的东西。
  • That request seemed superfluous when I wrote it.我这样写的时候觉得这个请求似乎是多此一举。
138 lust N8rz1     
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。
139 irony P4WyZ     
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。
140 wrested 687939d2c0d23b901d6d3b68cda5319a     
(用力)拧( wrest的过去式和过去分词 ); 费力取得; (从…)攫取; ( 从… ) 强行取去…
参考例句:
  • The usurper wrested the power from the king. 篡位者从国王手里夺取了权力。
  • But now it was all wrested from him. 可是现在,他却被剥夺了这一切。 来自英汉文学 - 嘉莉妹妹
141 wrest 1fdwD     
n.扭,拧,猛夺;v.夺取,猛扭,歪曲
参考例句:
  • The officer managed to wrest the gun from his grasp.警官最终把枪从他手中夺走了。
  • You wrest my words out of their real meaning.你曲解了我话里的真正含义。
142 dominant usAxG     
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。
143 brutal bSFyb     
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。
144 brutally jSRya     
adv.残忍地,野蛮地,冷酷无情地
参考例句:
  • The uprising was brutally put down.起义被残酷地镇压下去了。
  • A pro-democracy uprising was brutally suppressed.一场争取民主的起义被残酷镇压了。
145 supreme PHqzc     
adj.极度的,最重要的;至高的,最高的
参考例句:
  • It was the supreme moment in his life.那是他一生中最重要的时刻。
  • He handed up the indictment to the supreme court.他把起诉书送交最高法院。
146 supremely MhpzUo     
adv.无上地,崇高地
参考例句:
  • They managed it all supremely well. 这件事他们干得极其出色。
  • I consider a supremely beautiful gesture. 我觉得这是非常优雅的姿态。
147 misery G10yi     
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。
148 dub PmEyG     
vt.(以某种称号)授予,给...起绰号,复制
参考例句:
  • I intend to use simultaneous recording to dub this film.我打算采用同期录音的方法为这部影片配音。
  • It was dubbed into Spanish for Mexican audiences.它被译制成西班牙语以方便墨西哥观众观看。
149 grudgingly grudgingly     
参考例句:
  • He grudgingly acknowledged having made a mistake. 他勉强承认他做错了。 来自《简明英汉词典》
  • Their parents unwillingly [grudgingly] consented to the marriage. 他们的父母无可奈何地应允了这门亲事。 来自《现代汉英综合大词典》
150 detested e34cc9ea05a83243e2c1ed4bd90db391     
v.憎恶,嫌恶,痛恨( detest的过去式和过去分词 )
参考例句:
  • They detested each other on sight. 他们互相看着就不顺眼。
  • The freethinker hated the formalist; the lover of liberty detested the disciplinarian. 自由思想者总是不喜欢拘泥形式者,爱好自由者总是憎恶清规戒律者。 来自辞典例句
151 galling galling     
adj.难堪的,使烦恼的,使焦躁的
参考例句:
  • It was galling to have to apologize to a man she hated. 令人恼火的是得向她憎恶的男人道歉。
  • The insolence in the fellow's eye was galling. 这家伙的傲慢目光令人恼怒。 来自英汉文学 - 嘉莉妹妹
152 moor T6yzd     
n.荒野,沼泽;vt.(使)停泊;vi.停泊
参考例句:
  • I decided to moor near some tourist boats.我决定在一些观光船附近停泊。
  • There were hundreds of the old huts on the moor.沼地上有成百上千的古老的石屋。
153 steadily Qukw6     
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。
154 unbearable alCwB     
adj.不能容忍的;忍受不住的
参考例句:
  • It is unbearable to be always on thorns.老是处于焦虑不安的情况中是受不了的。
  • The more he thought of it the more unbearable it became.他越想越觉得无法忍受。
155 labored zpGz8M     
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
156 chafed f9adc83cf3cbb1d83206e36eae090f1f     
v.擦热(尤指皮肤)( chafe的过去式 );擦痛;发怒;惹怒
参考例句:
  • Her wrists chafed where the rope had been. 她的手腕上绳子勒过的地方都磨红了。
  • She chafed her cold hands. 她揉搓冰冷的双手使之暖和。 来自《现代英汉综合大词典》
157 yoke oeTzRa     
n.轭;支配;v.给...上轭,连接,使成配偶
参考例句:
  • An ass and an ox,fastened to the same yoke,were drawing a wagon.驴子和公牛一起套在轭上拉车。
  • The defeated army passed under the yoke.败军在轭门下通过。
158 sever wTXzb     
v.切开,割开;断绝,中断
参考例句:
  • She wanted to sever all her connections with the firm.她想断绝和那家公司的所有联系。
  • We must never sever the cultural vein of our nation.我们不能割断民族的文化血脉。
159 lash a2oxR     
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。
160 contemplate PaXyl     
vt.盘算,计议;周密考虑;注视,凝视
参考例句:
  • The possibility of war is too horrifying to contemplate.战争的可能性太可怕了,真不堪细想。
  • The consequences would be too ghastly to contemplate.后果不堪设想。
161 arrogance pNpyD     
n.傲慢,自大
参考例句:
  • His arrogance comes out in every speech he makes.他每次讲话都表现得骄傲自大。
  • Arrogance arrested his progress.骄傲阻碍了他的进步。
162 aspire ANbz2     
vi.(to,after)渴望,追求,有志于
参考例句:
  • Living together with you is what I aspire toward in my life.和你一起生活是我一生最大的愿望。
  • I aspire to be an innovator not a follower.我迫切希望能变成个开创者而不是跟随者。
163 bishop AtNzd     
n.主教,(国际象棋)象
参考例句:
  • He was a bishop who was held in reverence by all.他是一位被大家都尊敬的主教。
  • Two years after his death the bishop was canonised.主教逝世两年后被正式封为圣者。
164 insanity H6xxf     
n.疯狂,精神错乱;极端的愚蠢,荒唐
参考例句:
  • In his defense he alleged temporary insanity.他伪称一时精神错乱,为自己辩解。
  • He remained in his cell,and this visit only increased the belief in his insanity.他依旧还是住在他的地牢里,这次视察只是更加使人相信他是个疯子了。
165 spoke XryyC     
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说
参考例句:
  • They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
  • The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。
166 climax yqyzc     
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。
167 asylum DobyD     
n.避难所,庇护所,避难
参考例句:
  • The people ask for political asylum.人们请求政治避难。
  • Having sought asylum in the West for many years,they were eventually granted it.他们最终获得了在西方寻求多年的避难权。
168 incurables e619780eb4531b9e9c160114b07c93a6     
无法治愈,不可救药( incurable的名词复数 )
参考例句:
169 peculiar cinyo     
adj.古怪的,异常的;特殊的,特有的
参考例句:
  • He walks in a peculiar fashion.他走路的样子很奇特。
  • He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。
170 monstrous vwFyM     
adj.巨大的;恐怖的;可耻的,丢脸的
参考例句:
  • The smoke began to whirl and grew into a monstrous column.浓烟开始盘旋上升,形成了一个巨大的烟柱。
  • Your behaviour in class is monstrous!你在课堂上的行为真是丢人!
171 shams 9235049b12189f7635d5f007fd4704e1     
假象( sham的名词复数 ); 假货; 虚假的行为(或感情、言语等); 假装…的人
参考例句:
  • Are those real diamonds or only shams? 那些是真钻石还是赝品?
  • Tear away their veil of shams! 撕开他们的假面具吧!
172 determined duszmP     
adj.坚定的;有决心的
参考例句:
  • I have determined on going to Tibet after graduation.我已决定毕业后去西藏。
  • He determined to view the rooms behind the office.他决定查看一下办公室后面的房间。
173 pseudonym 2RExP     
n.假名,笔名
参考例句:
  • Eric Blair wrote under the pseudonym of George Orwell.埃里克·布莱尔用乔治·奧威尔这个笔名写作。
  • Both plays were published under the pseudonym of Philip Dayre.两个剧本都是以菲利普·戴尔的笔名出版的。
174 rant 9CYy4     
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。
175 maker DALxN     
n.制造者,制造商
参考例句:
  • He is a trouble maker,You must be distant with him.他是个捣蛋鬼,你不要跟他在一起。
  • A cabinet maker must be a master craftsman.家具木工必须是技艺高超的手艺人。
176 coffin XWRy7     
n.棺材,灵柩
参考例句:
  • When one's coffin is covered,all discussion about him can be settled.盖棺论定。
  • The coffin was placed in the grave.那口棺材已安放到坟墓里去了。
177 elegy HqBxD     
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。
178 ferocious ZkNxc     
adj.凶猛的,残暴的,极度的,十分强烈的
参考例句:
  • The ferocious winds seemed about to tear the ship to pieces.狂风仿佛要把船撕成碎片似的。
  • The ferocious panther is chasing a rabbit.那只凶猛的豹子正追赶一只兔子。
179 hypocrisy g4qyt     
n.伪善,虚伪
参考例句:
  • He railed against hypocrisy and greed.他痛斥伪善和贪婪的行为。
  • He accused newspapers of hypocrisy in their treatment of the story.他指责了报纸在报道该新闻时的虚伪。
180 injustice O45yL     
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。
181 precisely zlWzUb     
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。
182 Christian KVByl     
adj.基督教徒的;n.基督教徒
参考例句:
  • They always addressed each other by their Christian name.他们总是以教名互相称呼。
  • His mother is a sincere Christian.他母亲是个虔诚的基督教徒。
183 motive GFzxz     
n.动机,目的;adv.发动的,运动的
参考例句:
  • The police could not find a motive for the murder.警察不能找到谋杀的动机。
  • He had some motive in telling this fable.他讲这寓言故事是有用意的。
184 perversity D3kzJ     
n.任性;刚愎自用
参考例句:
  • She's marrying him out of sheer perversity.她嫁给他纯粹是任性。
  • The best of us have a spice of perversity in us.在我们最出色的人身上都有任性的一面。
185 indifference k8DxO     
n.不感兴趣,不关心,冷淡,不在乎
参考例句:
  • I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
  • He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。
186 portray mPLxy     
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?
187 portrayed a75f5b1487928c9f7f165b2773c13036     
v.画像( portray的过去式和过去分词 );描述;描绘;描画
参考例句:
  • Throughout the trial, he portrayed himself as the victim. 在审讯过程中,他始终把自己说成是受害者。
  • The author portrayed his father as a vicious drunkard. 作者把他父亲描绘成一个可恶的酒鬼。 来自《现代汉英综合大词典》
188 alleged gzaz3i     
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
189 WHIMS ecf1f9fe569e0760fc10bec24b97c043     
虚妄,禅病
参考例句:
  • The mate observed regretfully that he could not account for that young fellow's whims. 那位伙伴很遗憾地说他不能说出那年轻人产生怪念头的原因。
  • The rest she had for food and her own whims. 剩下的钱她用来吃饭和买一些自己喜欢的东西。 来自英汉文学 - 嘉莉妹妹
190 mariners 70cffa70c802d5fc4932d9a87a68c2eb     
海员,水手(mariner的复数形式)
参考例句:
  • Mariners were also able to fix their latitude by using an instrument called astrolabe. 海员们还可使用星盘这种仪器确定纬度。
  • The ancient mariners traversed the sea. 古代的海员漂洋过海。
191 arrant HNJyA     
adj.极端的;最大的
参考例句:
  • He is an arrant fool.他是个大傻瓜。
  • That's arrant nonsense.那完全是一派胡言。
192 jack 53Hxp     
n.插座,千斤顶,男人;v.抬起,提醒,扛举;n.(Jake)杰克
参考例句:
  • I am looking for the headphone jack.我正在找寻头戴式耳机插孔。
  • He lifted the car with a jack to change the flat tyre.他用千斤顶把车顶起来换下瘪轮胎。
193 evade evade     
vt.逃避,回避;避开,躲避
参考例句:
  • He tried to evade the embarrassing question.他企图回避这令人难堪的问题。
  • You are in charge of the job.How could you evade the issue?你是负责人,你怎么能对这个问题不置可否?
194 sects a3161a77f8f90b4820a636c283bfe4bf     
n.宗派,教派( sect的名词复数 )
参考例句:
  • Members of these sects are ruthlessly persecuted and suppressed. 这些教派的成员遭到了残酷的迫害和镇压。 来自《简明英汉词典》
  • He had subdued the religious sects, cleaned up Saigon. 他压服了宗教派别,刷新了西贡的面貌。 来自辞典例句
195 professes 66b6eb092a9d971b6c69395313575231     
声称( profess的第三人称单数 ); 宣称; 公开表明; 信奉
参考例句:
  • She still professes her innocence. 她仍然声称自己无辜。
  • He professes himself to be sad but doesn't look it. 他自称感到悲伤,但外表却看不出来。
196 outlet ZJFxG     
n.出口/路;销路;批发商店;通风口;发泄
参考例句:
  • The outlet of a water pipe was blocked.水管的出水口堵住了。
  • Running is a good outlet for his energy.跑步是他发泄过剩精力的好方法。
197 astounding QyKzns     
adj.使人震惊的vt.使震惊,使大吃一惊astound的现在分词)
参考例句:
  • There was an astounding 20% increase in sales. 销售量惊人地增加了20%。
  • The Chairman's remarks were so astounding that the audience listened to him with bated breath. 主席说的话令人吃惊,所以听众都屏息听他说。 来自《简明英汉词典》
198 shipwreck eypwo     
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。
199 wreck QMjzE     
n.失事,遇难;沉船;vt.(船等)失事,遇难
参考例句:
  • Weather may have been a factor in the wreck.天气可能是造成这次失事的原因之一。
  • No one can wreck the friendship between us.没有人能够破坏我们之间的友谊。
200 motives 6c25d038886898b20441190abe240957     
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。
201 dwarfs a9ddd2c1a88a74fc7bd6a9a0d16c2817     
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
202 capers 9b20f1771fa4f79c48a1bb65205dba5b     
n.开玩笑( caper的名词复数 );刺山柑v.跳跃,雀跃( caper的第三人称单数 )
参考例句:
  • I like to fly about and cut capers. 我喜欢跳跳蹦蹦闹着玩儿。 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
203 momentous Zjay9     
adj.重要的,重大的
参考例句:
  • I am deeply honoured to be invited to this momentous occasion.能应邀出席如此重要的场合,我深感荣幸。
  • The momentous news was that war had begun.重大的新闻是战争已经开始。
204 foe ygczK     
n.敌人,仇敌
参考例句:
  • He knew that Karl could be an implacable foe.他明白卡尔可能会成为他的死敌。
  • A friend is a friend;a foe is a foe;one must be clearly distinguished from the other.敌是敌,友是友,必须分清界限。
205 nag i63zW     
v.(对…)不停地唠叨;n.爱唠叨的人
参考例句:
  • Nobody likes to work with a nag.谁也不愿与好唠叨的人一起共事。
  • Don't nag me like an old woman.别像个老太婆似的唠唠叨叨烦我。
206 venom qLqzr     
n.毒液,恶毒,痛恨
参考例句:
  • The snake injects the venom immediately after biting its prey.毒蛇咬住猎物之后马上注入毒液。
  • In fact,some components of the venom may benefit human health.事实上,毒液的某些成分可能有益于人类健康。
207 doomed EuuzC1     
命定的
参考例句:
  • The court doomed the accused to a long term of imprisonment. 法庭判处被告长期监禁。
  • A country ruled by an iron hand is doomed to suffer. 被铁腕人物统治的国家定会遭受不幸的。
208 vices 01aad211a45c120dcd263c6f3d60ce79     
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。
209 degradation QxKxL     
n.降级;低落;退化;陵削;降解;衰变
参考例句:
  • There are serious problems of land degradation in some arid zones.在一些干旱地带存在严重的土地退化问题。
  • Gambling is always coupled with degradation.赌博总是与堕落相联系。
210 purely 8Sqxf     
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。
211 harangue BeyxH     
n.慷慨冗长的训话,言辞激烈的讲话
参考例句:
  • We had to listen to a long harangue about our own shortcomings.我们必须去听一有关我们缺点的长篇大论。
  • The minister of propaganda delivered his usual harangue.宣传部长一如既往发表了他的长篇大论。
212 doggerel t8Lyn     
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。
213 decency Jxzxs     
n.体面,得体,合宜,正派,庄重
参考例句:
  • His sense of decency and fair play made him refuse the offer.他的正直感和公平竞争意识使他拒绝了这一提议。
  • Your behaviour is an affront to public decency.你的行为有伤风化。
214 modesty REmxo     
n.谦逊,虚心,端庄,稳重,羞怯,朴素
参考例句:
  • Industry and modesty are the chief factors of his success.勤奋和谦虚是他成功的主要因素。
  • As conceit makes one lag behind,so modesty helps one make progress.骄傲使人落后,谦虚使人进步。
215 exterior LlYyr     
adj.外部的,外在的;表面的
参考例句:
  • The seed has a hard exterior covering.这种子外壳很硬。
  • We are painting the exterior wall of the house.我们正在给房子的外墙涂漆。
216 simplicity Vryyv     
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。
217 disdain KltzA     
n.鄙视,轻视;v.轻视,鄙视,不屑
参考例句:
  • Some people disdain labour.有些人轻视劳动。
  • A great man should disdain flatterers.伟大的人物应鄙视献媚者。
218 grotesque O6ryZ     
adj.怪诞的,丑陋的;n.怪诞的图案,怪人(物)
参考例句:
  • His face has a grotesque appearance.他的面部表情十分怪。
  • Her account of the incident was a grotesque distortion of the truth.她对这件事的陈述是荒诞地歪曲了事实。
219 eyewitness VlVxj     
n.目击者,见证人
参考例句:
  • The police questioned several eyewitness to the murder.警察询问了谋杀案的几位目击者。
  • He was the only eyewitness of the robbery.他是那起抢劫案的唯一目击者。
220 wholesome Uowyz     
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。
221 originality JJJxm     
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。
222 wield efhyv     
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。
223 wields 735a5836610d6f7426fc4d6e28540faf     
手持着使用(武器、工具等)( wield的第三人称单数 ); 具有; 运用(权力); 施加(影响)
参考例句:
  • She wields enormous power within the party. 她操纵着党内大权。
  • He remains chairman, but wields little power at the company. 他还是主席,但在公司没有什么实权了。
224 lasting IpCz02     
adj.永久的,永恒的;vbl.持续,维持
参考例句:
  • The lasting war debased the value of the dollar.持久的战争使美元贬值。
  • We hope for a lasting settlement of all these troubles.我们希望这些纠纷能获得永久的解决。
225 kindliness 2133e1da2ddf0309b4a22d6f5022476b     
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
226 virtue BpqyH     
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。
227 worthy vftwB     
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。
228 veal 5HQy0     
n.小牛肉
参考例句:
  • She sauteed veal and peppers,preparing a mixed salad while the pan simmered.她先做的一道菜是青椒煎小牛肉,趁着锅还在火上偎着的机会,又做了一道拼盘。
  • Marinate the veal in white wine for two hours.把小牛肉用白葡萄酒浸泡两小时。
229 violation lLBzJ     
n.违反(行为),违背(行为),侵犯
参考例句:
  • He roared that was a violation of the rules.他大声说,那是违反规则的。
  • He was fined 200 dollars for violation of traffic regulation.他因违反交通规则被罚款200美元。
230 Oxford Wmmz0a     
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。
231 diplomacy gu9xk     
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。
232 promptly LRMxm     
adv.及时地,敏捷地
参考例句:
  • He paid the money back promptly.他立即还了钱。
  • She promptly seized the opportunity his absence gave her.她立即抓住了因他不在场给她创造的机会。
233 lavishly VpqzBo     
adv.慷慨地,大方地
参考例句:
  • His house was lavishly adorned.他的屋子装饰得很华丽。
  • The book is lavishly illustrated in full colour.这本书里有大量全彩插图。
234 slay 1EtzI     
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。
235 mighty YDWxl     
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。
236 dread Ekpz8     
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。
237 repulsed 80c11efb71fea581c6fe3c4634a448e1     
v.击退( repulse的过去式和过去分词 );驳斥;拒绝
参考例句:
  • I was repulsed by the horrible smell. 这种可怕的气味让我恶心。
  • At the first brush,the enemy was repulsed. 敌人在第一次交火时就被击退了。 来自《简明英汉词典》
238 battalions 35cfaa84044db717b460d0ff39a7c1bf     
n.(陆军的)一营(大约有一千兵士)( battalion的名词复数 );协同作战的部队;军队;(组织在一起工作的)队伍
参考例句:
  • God is always on the side of the strongest battalions. 上帝总是帮助强者。 来自《现代汉英综合大词典》
  • Two battalions were disposed for an attack on the air base. 配置两个营的兵力进攻空军基地。 来自《现代汉英综合大词典》
239 simile zE0yB     
n.直喻,明喻
参考例句:
  • I believe this simile largely speaks the truth.我相信这种比拟在很大程度上道出了真实。
  • It is a trite simile to compare her teeth to pearls.把她的牙齿比做珍珠是陈腐的比喻。
240 jealousy WaRz6     
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。
241 mingle 3Dvx8     
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。
242 serenely Bi5zpo     
adv.安详地,宁静地,平静地
参考例句:
  • The boat sailed serenely on towards the horizon.小船平稳地向着天水交接处驶去。
  • It was a serenely beautiful night.那是一个宁静美丽的夜晚。
243 hack BQJz2     
n.劈,砍,出租马车;v.劈,砍,干咳
参考例句:
  • He made a hack at the log.他朝圆木上砍了一下。
  • Early settlers had to hack out a clearing in the forest where they could grow crops.早期移民不得不在森林里劈出空地种庄稼。
244 materialism aBCxF     
n.[哲]唯物主义,唯物论;物质至上
参考例句:
  • Idealism is opposite to materialism.唯心论和唯物论是对立的。
  • Crass materialism causes people to forget spiritual values.极端唯物主义使人忘掉精神价值。
245 dissection XtTxQ     
n.分析;解剖
参考例句:
  • A dissection of your argument shows several inconsistencies.对你论点作仔细分析后发现一些前后矛盾之处。
  • Researchers need a growing supply of corpses for dissection.研究人员需要更多的供解剖用的尸体。
246 interpretation P5jxQ     
n.解释,说明,描述;艺术处理
参考例句:
  • His statement admits of one interpretation only.他的话只有一种解释。
  • Analysis and interpretation is a very personal thing.分析与说明是个很主观的事情。
247 dabbler e4c266124941ee690c5b0641f50406be     
n. 戏水者, 业余家, 半玩半认真做的人
参考例句:
  • The dabbler in knowledge chatters away; the wise man stays silent. 一瓶子不响,半瓶子晃荡。
  • He's not a dedicated musician but a dabbler. 他并不是专门的音乐家,只不过是个业余家。
248 herald qdCzd     
vt.预示...的来临,预告,宣布,欢迎
参考例句:
  • In England, the cuckoo is the herald of spring.在英国杜鹃鸟是报春的使者。
  • Dawn is the herald of day.曙光是白昼的先驱。
249 genial egaxm     
adj.亲切的,和蔼的,愉快的,脾气好的
参考例句:
  • Orlando is a genial man.奥兰多是一位和蔼可亲的人。
  • He was a warm-hearted friend and genial host.他是个热心的朋友,也是友善待客的主人。
250 attain HvYzX     
vt.达到,获得,完成
参考例句:
  • I used the scientific method to attain this end. 我用科学的方法来达到这一目的。
  • His painstaking to attain his goal in life is praiseworthy. 他为实现人生目标所下的苦功是值得称赞的。
251 unities 446679b44211171b359e870c2c96ee00     
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
252 rhetoric FCnzz     
n.修辞学,浮夸之言语
参考例句:
  • Do you know something about rhetoric?你懂点修辞学吗?
  • Behind all the rhetoric,his relations with the army are dangerously poised.在冠冕堂皇的言辞背后,他和军队的关系岌岌可危。
253 immortality hkuys     
n.不死,不朽
参考例句:
  • belief in the immortality of the soul 灵魂不灭的信念
  • It was like having immortality while you were still alive. 仿佛是当你仍然活着的时候就得到了永生。
254 immortal 7kOyr     
adj.不朽的;永生的,不死的;神的
参考例句:
  • The wild cocoa tree is effectively immortal.野生可可树实际上是不会死的。
  • The heroes of the people are immortal!人民英雄永垂不朽!
255 drawn MuXzIi     
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。
256 longing 98bzd     
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。
257 nought gHGx3     
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。
258 eternity Aiwz7     
n.不朽,来世;永恒,无穷
参考例句:
  • The dull play seemed to last an eternity.这场乏味的剧似乎演个没完没了。
  • Finally,Ying Tai and Shan Bo could be together for all of eternity.英台和山伯终能双宿双飞,永世相随。
259 devout Qlozt     
adj.虔诚的,虔敬的,衷心的 (n.devoutness)
参考例句:
  • His devout Catholicism appeals to ordinary people.他对天主教的虔诚信仰感染了普通民众。
  • The devout man prayed daily.那位虔诚的男士每天都祈祷。
260 hymns b7dc017139f285ccbcf6a69b748a6f93     
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
261 hymn m4Wyw     
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。
262 spacious YwQwW     
adj.广阔的,宽敞的
参考例句:
  • Our yard is spacious enough for a swimming pool.我们的院子很宽敞,足够建一座游泳池。
  • The room is bright and spacious.这房间很豁亮。
263 firmament h71yN     
n.苍穹;最高层
参考例句:
  • There are no stars in the firmament.天空没有一颗星星。
  • He was rich,and a rising star in the political firmament.他十分富有,并且是政治高层一颗冉冉升起的新星。
264 antithesis dw6zT     
n.对立;相对
参考例句:
  • The style of his speech was in complete antithesis to mine.他和我的讲话方式完全相反。
  • His creation was an antithesis to academic dogmatism of the time.他的创作与当时学院派的教条相对立。
265 playwright 8Ouxo     
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。
266 joyously 1p4zu0     
ad.快乐地, 高兴地
参考例句:
  • She opened the door for me and threw herself in my arms, screaming joyously and demanding that we decorate the tree immediately. 她打开门,直扑我的怀抱,欣喜地喊叫着要马上装饰圣诞树。
  • They came running, crying out joyously in trilling girlish voices. 她们边跑边喊,那少女的颤音好不欢快。 来自名作英译部分
267 ridicules c2514de4b94e254758b70aaf0e36ed54     
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:
268 overflowing df84dc195bce4a8f55eb873daf61b924     
n. 溢出物,溢流 adj. 充沛的,充满的 动词overflow的现在分词形式
参考例句:
  • The stands were overflowing with farm and sideline products. 集市上农副产品非常丰富。
  • The milk is overflowing. 牛奶溢出来了。
269 gazetteer tlDyB     
n.地名索引
参考例句:
  • Any atlas,containing many pages of maps,normally includes an index,called a gazetteer.任何载有多幅地图的地图集,一般都附有一份地名索引。
  • The entire "Geographia" is the first atlas and gazetteer.全部《地理学》可说是第一本地图集和地名辞典。
270 immediate aapxh     
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。
271 dedication pxMx9     
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。
272 guise JeizL     
n.外表,伪装的姿态
参考例句:
  • They got into the school in the guise of inspectors.他们假装成视察员进了学校。
  • The thief came into the house under the guise of a repairman.那小偷扮成个修理匠进了屋子。
273 discourse 2lGz0     
n.论文,演说;谈话;话语;vi.讲述,著述
参考例句:
  • We'll discourse on the subject tonight.我们今晚要谈论这个问题。
  • He fell into discourse with the customers who were drinking at the counter.他和站在柜台旁的酒客谈了起来。
274 parable R4hzI     
n.寓言,比喻
参考例句:
  • This is an ancient parable.这是一个古老的寓言。
  • The minister preached a sermon on the parable of the lost sheep.牧师讲道时用了亡羊的比喻。
275 narrative CFmxS     
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。
276 narratives 91f2774e518576e3f5253e0a9c364ac7     
记叙文( narrative的名词复数 ); 故事; 叙述; 叙述部分
参考例句:
  • Marriage, which has been the bourne of so many narratives, is still a great beginning. 结婚一向是许多小说的终点,然而也是一个伟大的开始。
  • This is one of the narratives that children are fond of. 这是孩子们喜欢的故事之一。
277 attentive pOKyB     
adj.注意的,专心的;关心(别人)的,殷勤的
参考例句:
  • She was very attentive to her guests.她对客人招待得十分周到。
  • The speaker likes to have an attentive audience.演讲者喜欢注意力集中的听众。
278 jobbers 9474a7849571330ad7be63d0f9a16968     
n.做零活的人( jobber的名词复数 );营私舞弊者;股票经纪人;证券交易商
参考例句:
  • Civil war may mean disaster for other businessmen, but stock-jobbers thrive on it. 别项生意碰到开火就该倒楣,做公债却是例外。 来自子夜部分
  • Dupont strongly recommends Solar Simulator to its jobbers and paint shops. 杜邦公司强烈建议太阳模拟器的批发商和油漆店。 来自互联网
279 looms 802b73dd60a3cebff17088fed01c2705     
n.织布机( loom的名词复数 )v.隐约出现,阴森地逼近( loom的第三人称单数 );隐约出现,阴森地逼近
参考例句:
  • All were busily engaged,men at their ploughs,women at their looms. 大家都很忙,男的耕田,女的织布。 来自《简明英汉词典》
  • The factory has twenty-five looms. 那家工厂有25台织布机。 来自《简明英汉词典》
280 monopolizes 9c55805879ff88bb0cab6ab839b39fac     
n.垄断( monopolize的名词复数 );独占;专卖;专营v.垄断( monopolize的第三人称单数 );独占;专卖;专营
参考例句:
  • An electric power company monopolizes the power supply in this area. 一家电力公司垄断了该地区的电力供应。 来自辞典例句
  • People feel secretly disgusted that, as a leader, he monopolizes power. 作为领导他如此揽权,大家背地里都很反感。 来自互联网
281 opposition eIUxU     
n.反对,敌对
参考例句:
  • The party leader is facing opposition in his own backyard.该党领袖在自己的党內遇到了反对。
  • The police tried to break down the prisoner's opposition.警察设法制住了那个囚犯的反抗。
282 distinguished wu9z3v     
adj.卓越的,杰出的,著名的
参考例句:
  • Elephants are distinguished from other animals by their long noses.大象以其长长的鼻子显示出与其他动物的不同。
  • A banquet was given in honor of the distinguished guests.宴会是为了向贵宾们致敬而举行的。
283 vile YLWz0     
adj.卑鄙的,可耻的,邪恶的;坏透的
参考例句:
  • Who could have carried out such a vile attack?会是谁发起这么卑鄙的攻击呢?
  • Her talk was full of vile curses.她的话里充满着恶毒的咒骂。
284 gulp yQ0z6     
vt.吞咽,大口地吸(气);vi.哽住;n.吞咽
参考例句:
  • She took down the tablets in one gulp.她把那些药片一口吞了下去。
  • Don't gulp your food,chew it before you swallow it.吃东西不要狼吞虎咽,要嚼碎了再咽下去。
285 oracle jJuxy     
n.神谕,神谕处,预言
参考例句:
  • In times of difficulty,she pray for an oracle to guide her.在困难的时候,她祈祷神谕来指引她。
  • It is a kind of oracle that often foretells things most important.它是一种内生性神谕,常常能预言最重要的事情。
286 pessimism r3XzM     
n.悲观者,悲观主义者,厌世者
参考例句:
  • He displayed his usual pessimism.他流露出惯有的悲观。
  • There is the note of pessimism in his writings.他的著作带有悲观色彩。
287 rime lDvye     
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》。
288 massacre i71zk     
n.残杀,大屠杀;v.残杀,集体屠杀
参考例句:
  • There was a terrible massacre of villagers here during the war.在战争中,这里的村民惨遭屠杀。
  • If we forget the massacre,the massacre will happen again!忘记了大屠杀,大屠杀就有可能再次发生!
289 offhand IIUxa     
adj.临时,无准备的;随便,马虎的
参考例句:
  • I can't answer your request offhand.我不能随便答复你的要求。
  • I wouldn't want to say what I thought about it offhand.我不愿意随便说我关于这事的想法。
290 doctrine Pkszt     
n.教义;主义;学说
参考例句:
  • He was impelled to proclaim his doctrine.他不得不宣扬他的教义。
  • The council met to consider changes to doctrine.宗教议会开会考虑更改教义。
291 marvel b2xyG     
vi.(at)惊叹vt.感到惊异;n.令人惊异的事
参考例句:
  • The robot is a marvel of modern engineering.机器人是现代工程技术的奇迹。
  • The operation was a marvel of medical skill.这次手术是医术上的一个奇迹。
292 allusions c86da6c28e67372f86a9828c085dd3ad     
暗指,间接提到( allusion的名词复数 )
参考例句:
  • We should not use proverbs and allusions indiscriminately. 不要滥用成语典故。
  • The background lent itself to allusions to European scenes. 眼前的情景容易使人联想到欧洲风光。
293 muses 306ea415b7f016732e8a8cee3311d579     
v.沉思,冥想( muse的第三人称单数 );沉思自语说(某事)
参考例句:
  • We have listened too long to the courtly muses of Europe. 欧洲那种御用的诗才,我们已经听够了。 来自辞典例句
  • Shiki muses that this is, at least, probably the right atmosphere. 志贵觉得这至少是正确的气氛。 来自互联网
294 melancholy t7rz8     
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。
295 reactionary 4TWxJ     
n.反动者,反动主义者;adj.反动的,反动主义的,反对改革的
参考例句:
  • They forced thousands of peasants into their reactionary armies.他们迫使成千上万的农民参加他们的反动军队。
  • The reactionary ruling clique was torn by internal strife.反动统治集团内部勾心斗角,四分五裂。
296 wretch EIPyl     
n.可怜的人,不幸的人;卑鄙的人
参考例句:
  • You are really an ungrateful wretch to complain instead of thanking him.你不但不谢他,还埋怨他,真不知好歹。
  • The dead husband is not the dishonoured wretch they fancied him.死去的丈夫不是他们所想象的不光彩的坏蛋。
297 awakening 9ytzdV     
n.觉醒,醒悟 adj.觉醒中的;唤醒的
参考例句:
  • the awakening of interest in the environment 对环境产生的兴趣
  • People are gradually awakening to their rights. 人们正逐渐意识到自己的权利。
298 omnivorous eI9xA     
adj.杂食的
参考例句:
  • Brown bears are omnivorous,eating anything that they can get their paws on.棕熊是杂食性动物,抓到什么吃什么。
  • Man is an omnivorous animal.人是肉类与蔬菜均食用的动物。
299 dismal wtwxa     
adj.阴沉的,凄凉的,令人忧郁的,差劲的
参考例句:
  • That is a rather dismal melody.那是一支相当忧郁的歌曲。
  • My prospects of returning to a suitable job are dismal.我重新找到一个合适的工作岗位的希望很渺茫。
300 influential l7oxK     
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。
301 ridiculed 81e89e8e17fcf40595c6663a61115a91     
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》
302 tavern wGpyl     
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。
303 taverns 476fbbf2c55ee4859d46c568855378a8     
n.小旅馆,客栈,酒馆( tavern的名词复数 )
参考例句:
  • They ain't only two taverns. We can find out quick." 这儿只有两家客栈,会弄明白的。” 来自英汉文学 - 汤姆历险
  • Maybe ALL the Temperance Taverns have got a ha'nted room, hey, Huck?" 也许所有的禁酒客栈都有个闹鬼的房间,喂,哈克,你说是不是?” 来自英汉文学 - 汤姆历险
304 wharf RMGzd     
n.码头,停泊处
参考例句:
  • We fetch up at the wharf exactly on time.我们准时到达码头。
  • We reached the wharf gasping for breath.我们气喘吁吁地抵达了码头。
305 reminder WkzzTb     
n.提醒物,纪念品;暗示,提示
参考例句:
  • I have had another reminder from the library.我又收到图书馆的催还单。
  • It always took a final reminder to get her to pay her share of the rent.总是得发给她一份最后催缴通知,她才付应该交的房租。
306 lodging wRgz9     
n.寄宿,住所;(大学生的)校外宿舍
参考例句:
  • The bill is inclusive of the food and lodging. 账单包括吃、住费用。
  • Where can you find lodging for the night? 你今晚在哪里借宿?
307 lodgings f12f6c99e9a4f01e5e08b1197f095e6e     
n. 出租的房舍, 寄宿舍
参考例句:
  • When he reached his lodgings the sun had set. 他到达公寓房间时,太阳已下山了。
  • I'm on the hunt for lodgings. 我正在寻找住所。
308 synonym GHVzT     
n.同义词,换喻词
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。
  • The term 'industrial democracy' is often used as a synonym for worker participation. “工业民主”这个词常被用作“工人参与”的同义词。
309 dreary sk1z6     
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。
310 savage ECxzR     
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。
311 intervals f46c9d8b430e8c86dea610ec56b7cbef     
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息
参考例句:
  • The forecast said there would be sunny intervals and showers. 预报间晴,有阵雨。
  • Meetings take place at fortnightly intervals. 每两周开一次会。
312 earnings rrWxJ     
n.工资收人;利润,利益,所得
参考例句:
  • That old man lives on the earnings of his daughter.那个老人靠他女儿的收入维持生活。
  • Last year there was a 20% decrease in his earnings.去年他的收入减少了20%。
313 labors 8e0b4ddc7de5679605be19f4398395e1     
v.努力争取(for)( labor的第三人称单数 );苦干;详细分析;(指引擎)缓慢而困难地运转
参考例句:
  • 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。 来自辞典例句
  • Farm labors used to hire themselves out for the summer. 农业劳动者夏季常去当雇工。 来自辞典例句
314 royalty iX6xN     
n.皇家,皇族
参考例句:
  • She claims to be descended from royalty.她声称她是皇室后裔。
  • I waited on tables,and even catered to royalty at the Royal Albert Hall.我做过服务生, 甚至在皇家阿伯特大厅侍奉过皇室的人。
315 adversary mxrzt     
adj.敌手,对手
参考例句:
  • He saw her as his main adversary within the company.他将她视为公司中主要的对手。
  • They will do anything to undermine their adversary's reputation.他们会不择手段地去损害对手的名誉。
316 oracles 57445499052d70517ac12f6dfd90be96     
神示所( oracle的名词复数 ); 神谕; 圣贤; 哲人
参考例句:
  • Do all oracles tell the truth? 是否所有的神谕都揭示真理? 来自哲学部分
  • The ancient oracles were often vague and equivocal. 古代的神谕常是意义模糊和模棱两可的。
317 curiously 3v0zIc     
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。
318 monologues b54ccd8f001b9d8e09b1cb0a3d508b10     
n.(戏剧)长篇独白( monologue的名词复数 );滔滔不绝的讲话;独角戏
参考例句:
  • That film combines real testimonials with monologues read by actors. 电影中既有真人讲的真事,也有演员的独白。 来自互联网
  • Her monologues may help her make sense of her day. 她的独白可以帮助她让她一天的感觉。 来自互联网
319 lexicon a1rxD     
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。
320 scotch ZZ3x8     
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。
321 ponderous pOCxR     
adj.沉重的,笨重的,(文章)冗长的
参考例句:
  • His steps were heavy and ponderous.他的步伐沉重缓慢。
  • It was easy to underestimate him because of his occasionally ponderous manner.由于他偶尔现出的沉闷的姿态,很容易使人小看了他。
322 lighter 5pPzPR     
n.打火机,点火器;驳船;v.用驳船运送;light的比较级
参考例句:
  • The portrait was touched up so as to make it lighter.这张画经过润色,色调明朗了一些。
  • The lighter works off the car battery.引燃器利用汽车蓄电池打火。
323 scant 2Dwzx     
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。
324 mire 57ZzT     
n.泥沼,泥泞;v.使...陷于泥泞,使...陷入困境
参考例句:
  • I don't want my son's good name dragged through the mire.我不想使我儿子的名誉扫地。
  • He has rescued me from the mire of misery.他把我从苦海里救了出来。
325 orator hJwxv     
n.演说者,演讲者,雄辩家
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。
  • The orator gestured vigorously while speaking.这位演讲者讲话时用力地做手势。
326 orators 08c37f31715969550bbb2f814266d9d2     
n.演说者,演讲家( orator的名词复数 )
参考例句:
  • The hired orators continued to pour forth their streams of eloquence. 那些雇来的演说家继续滔滔不绝地施展辩才。 来自辞典例句
  • Their ears are too full of bugles and drums and the fine words from stay-at-home orators. 人们的耳朵被军号声和战声以及呆在这的演说家们的漂亮言辞塞得太满了。 来自飘(部分)
327 tiresome Kgty9     
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。
328 trots b4193f3b689ed427c61603fce46ef9b1     
小跑,急走( trot的名词复数 ); 匆匆忙忙地走
参考例句:
  • A horse that trots, especially one trained for harness racing. 训练用于快跑特别是套轭具赛跑的马。
  • He always trots out the same old excuses for being late. 他每次迟到总是重复那一套藉口。
329 frantic Jfyzr     
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。
330 caress crczs     
vt./n.爱抚,抚摸
参考例句:
  • She gave the child a loving caress.她疼爱地抚摸着孩子。
  • She feasted on the caress of the hot spring.她尽情享受着温泉的抚爱。
331 cuff 4YUzL     
n.袖口;手铐;护腕;vt.用手铐铐;上袖口
参考例句:
  • She hoped they wouldn't cuff her hands behind her back.她希望他们不要把她反铐起来。
  • Would you please draw together the snag in my cuff?请你把我袖口上的裂口缝上好吗?
332 contented Gvxzof     
adj.满意的,安心的,知足的
参考例句:
  • He won't be contented until he's upset everyone in the office.不把办公室里的每个人弄得心烦意乱他就不会满足。
  • The people are making a good living and are contented,each in his station.人民安居乐业。
333 trout PKDzs     
n.鳟鱼;鲑鱼(属)
参考例句:
  • Thousands of young salmon and trout have been killed by the pollution.成千上万的鲑鱼和鳟鱼的鱼苗因污染而死亡。
  • We hooked a trout and had it for breakfast.我们钓了一条鳟鱼,早饭时吃了。
334 agitated dzgzc2     
adj.被鼓动的,不安的
参考例句:
  • His answers were all mixed up,so agitated was he.他是那样心神不定,回答全乱了。
  • She was agitated because her train was an hour late.她乘坐的火车晚点一个小时,她十分焦虑。
335 recollecting ede3688b332b81d07d9a3dc515e54241     
v.记起,想起( recollect的现在分词 )
参考例句:
  • Once wound could heal slowly, my Bo Hui was recollecting. 曾经的伤口会慢慢地愈合,我卜会甾回忆。 来自互联网
  • I am afraid of recollecting the life of past in the school. 我不敢回忆我在校过去的生活。 来自互联网
336 stunned 735ec6d53723be15b1737edd89183ec2     
adj. 震惊的,惊讶的 动词stun的过去式和过去分词
参考例句:
  • The fall stunned me for a moment. 那一下摔得我昏迷了片刻。
  • The leaders of the Kopper Company were then stunned speechless. 科伯公司的领导们当时被惊得目瞪口呆。
337 apprehensive WNkyw     
adj.担心的,恐惧的,善于领会的
参考例句:
  • She was deeply apprehensive about her future.她对未来感到非常担心。
  • He was rather apprehensive of failure.他相当害怕失败。
338 persistency ZSyzh     
n. 坚持(余辉, 时间常数)
参考例句:
  • I was nettled by her persistency. 我被她的固执惹恼了。
  • We should stick to and develop the heritage of persistency. 我们应坚持和发扬坚忍不拔的传统。
339 abate SoAyj     
vi.(风势,疼痛等)减弱,减轻,减退
参考例句:
  • We must abate the noise pollution in our city.我们必须消除我们城里的噪音污染。
  • The doctor gave him some medicine to abate the powerful pain.医生给了他一些药,以减弱那剧烈的疼痛。
340 idol Z4zyo     
n.偶像,红人,宠儿
参考例句:
  • As an only child he was the idol of his parents.作为独子,他是父母的宠儿。
  • Blind worship of this idol must be ended.对这个偶像的盲目崇拜应该结束了。
341 superstitions bf6d10d6085a510f371db29a9b4f8c2f     
迷信,迷信行为( superstition的名词复数 )
参考例句:
  • Old superstitions seem incredible to educated people. 旧的迷信对于受过教育的人来说是不可思议的。
  • Do away with all fetishes and superstitions. 破除一切盲目崇拜和迷信。
342 scorched a5fdd52977662c80951e2b41c31587a0     
烧焦,烤焦( scorch的过去式和过去分词 ); 使(植物)枯萎,把…晒枯; 高速行驶; 枯焦
参考例句:
  • I scorched my dress when I was ironing it. 我把自己的连衣裙熨焦了。
  • The hot iron scorched the tablecloth. 热熨斗把桌布烫焦了。
343 twitches ad4956b2a0ba10cf1e516f73f42f7fc3     
n.(使)抽动, (使)颤动, (使)抽搐( twitch的名词复数 )
参考例句:
  • No response, just a flutter of flanks and a few ear twitches. 没反应,只有胁腹和耳朵动了几下。 来自互联网
  • BCEF(50,100 mg·kg~-1 ) could distinctly increase the head-twitch number in the 5-HTP induced head-twitches test. BCEF50、100mg·kg-1可明显增加5羟色胺酸诱导甩头小鼠的甩头次数。 来自互联网
344 puffing b3a737211571a681caa80669a39d25d3     
v.使喷出( puff的现在分词 );喷着汽(或烟)移动;吹嘘;吹捧
参考例句:
  • He was puffing hard when he jumped on to the bus. 他跳上公共汽车时喘息不已。 来自《现代汉英综合大词典》
  • My father sat puffing contentedly on his pipe. 父亲坐着心满意足地抽着烟斗。 来自《简明英汉词典》
345 specimen Xvtwm     
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。
346 random HT9xd     
adj.随机的;任意的;n.偶然的(或随便的)行动
参考例句:
  • The list is arranged in a random order.名单排列不分先后。
  • On random inspection the meat was found to be bad.经抽查,发现肉变质了。
347 utterances e168af1b6b9585501e72cb8ff038183b     
n.发声( utterance的名词复数 );说话方式;语调;言论
参考例句:
  • John Maynard Keynes used somewhat gnomic utterances in his General Theory. 约翰·梅纳德·凯恩斯在其《通论》中用了许多精辟言辞。 来自辞典例句
  • Elsewhere, particularly in his more public utterances, Hawthorne speaks very differently. 在别的地方,特别是在比较公开的谈话里,霍桑讲的话则完全不同。 来自辞典例句
348 brutes 580ab57d96366c5593ed705424e15ffa     
兽( brute的名词复数 ); 畜生; 残酷无情的人; 兽性
参考例句:
  • They're not like dogs; they're hideous brutes. 它们不像狗,是丑陋的畜牲。
  • Suddenly the foul musty odour of the brutes struck his nostrils. 突然,他的鼻尖闻到了老鼠的霉臭味。 来自英汉文学
349 scriptures 720536f64aa43a43453b1181a16638ad     
经文,圣典( scripture的名词复数 ); 经典
参考例句:
  • Here the apostle Peter affirms his belief that the Scriptures are 'inspired'. 使徒彼得在此表达了他相信《圣经》是通过默感写成的。
  • You won't find this moral precept in the scriptures. 你在《圣经》中找不到这种道德规范。
350 authorized jyLzgx     
a.委任的,许可的
参考例句:
  • An administrative order is valid if authorized by a statute.如果一个行政命令得到一个法规的认可那么这个命令就是有效的。
351 reprehension b0a8dcd3e0b3376d02002f78b7e6e996     
n.非难,指责
参考例句:
352 pensive 2uTys     
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。
353 scorpions 0f63b2c0873e8cba29ba4550835d32a9     
n.蝎子( scorpion的名词复数 )
参考例句:
  • You promise me that Black Scorpions will never come back to Lanzhou. 你保证黑蝎子永远不再踏上兰州的土地。 来自电影对白
  • You Scorpions are rather secretive about your likes and dislikes. 天蝎:蝎子是如此的神秘,你的喜好很难被别人洞悉。 来自互联网
354 flouts 756295a8d972362365232519cd524b5a     
v.藐视,轻视( flout的第三人称单数 )
参考例句:
355 hibernation cdjxK     
n.冬眠
参考例句:
  • Bears wake up in the spring after a winter of hibernation.熊经过一个冬天的冬眠后在春季苏醒。
  • The tortoise spends the winter months in hibernation.乌龟在冬眠中度过寒冬季节。
356 colloquial ibryG     
adj.口语的,会话的
参考例句:
  • It's hard to understand the colloquial idioms of a foreign language.外语里的口头习语很难懂。
  • They have little acquaintance with colloquial English. 他们对英语会话几乎一窍不通。
357 gored 06e2f8539ee9ec452c00dba81fa714c1     
v.(动物)用角撞伤,用牙刺破( gore的过去式和过去分词 )
参考例句:
  • He was gored by a bull. 他被公牛顶伤。
  • The bull gored the farmer to death. 公牛用角把农夫抵死了。 来自《简明英汉词典》
358 auditors 7c9d6c4703cbc39f1ec2b27542bc5d1a     
n.审计员,稽核员( auditor的名词复数 );(大学课程的)旁听生
参考例句:
  • The company has been in litigation with its previous auditors for a full year. 那家公司与前任审计员已打了整整一年的官司。
  • a meeting to discuss the annual accounts and the auditors' report thereon 讨论年度报表及其审计报告的会议
359 obsequiously 09ac939bd60863e6d9b9fc527330e0fb     
参考例句:
  • You must guard against those who fawn upon you and bow obsequiously before you! 对阿谀奉承、点头哈腰的人要格外警惕! 来自《简明英汉词典》
  • When everyone saw the mayor, they all bowed obsequiously – he was the only exception. 所有人见到市长都点头哈腰,只有他是个例外。 来自互联网
360 irrelevancy bdad577dca3d34d4af4019a5f7c2d039     
n.不恰当,离题,不相干的事物
参考例句:
361 propounds cb0a3eab08a8b6b280440c771530ceb1     
v.提出(问题、计划等)供考虑[讨论],提议( propound的第三人称单数 )
参考例句:
362 conundrum gpxzZ     
n.谜语;难题
参考例句:
  • Let me give you some history about a conundrum.让我给你们一些关于谜题的历史。
  • Scientists had focused on two explanations to solve this conundrum.科学家已锁定两种解释来解开这个难题。
363 sculptors 55fe6a2a17f97fa90175d8545e7fd3e2     
雕刻家,雕塑家( sculptor的名词复数 ); [天]玉夫座
参考例句:
  • He is one of Britain's best-known sculptors. 他是英国最有名的雕塑家之一。
  • Painters and sculptors are indexed separately. 画家和雕刻家被分开,分别做了索引。
364 imposing 8q9zcB     
adj.使人难忘的,壮丽的,堂皇的,雄伟的
参考例句:
  • The fortress is an imposing building.这座城堡是一座宏伟的建筑。
  • He has lost his imposing appearance.他已失去堂堂仪表。
365 regularity sVCxx     
n.规律性,规则性;匀称,整齐
参考例句:
  • The idea is to maintain the regularity of the heartbeat.问题就是要维持心跳的规律性。
  • He exercised with a regularity that amazed us.他锻炼的规律程度令我们非常惊讶。
366 lesser UpxzJL     
adj.次要的,较小的;adv.较小地,较少地
参考例句:
  • Kept some of the lesser players out.不让那些次要的球员参加联赛。
  • She has also been affected,but to a lesser degree.她也受到波及,但程度较轻。
367 thoroughly sgmz0J     
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。
368 fulsome Shlxd     
adj.可恶的,虚伪的,过分恭维的
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。
  • Newspapers have been fulsome in their praise of the former president.报纸上对前总统都是些溢美之词。
369 oratory HJ7xv     
n.演讲术;词藻华丽的言辞
参考例句:
  • I admire the oratory of some politicians.我佩服某些政治家的辩才。
  • He dazzled the crowd with his oratory.他的雄辩口才使听众赞叹不已。
370 confession 8Ygye     
n.自白,供认,承认
参考例句:
  • Her confession was simply tantamount to a casual explanation.她的自白简直等于一篇即席说明。
  • The police used torture to extort a confession from him.警察对他用刑逼供。
371 verbiage wLyzq     
n.冗词;冗长
参考例句:
  • Stripped of their pretentious verbiage,his statements come dangerously close to inviting racial hatred.抛开那些夸大其词的冗词赘语不论,他的言论有挑起种族仇恨的危险。
  • Even in little 140-character bites,that's a lot of verbiage.即使限制在一条140个字也有很大一部分是废话。
372 clog 6qzz8     
vt.塞满,阻塞;n.[常pl.]木屐
参考例句:
  • In cotton and wool processing,short length fibers may clog sewers.在棉毛生产中,短纤维可能堵塞下水管道。
  • These streets often clog during the rush hour.这几条大街在交通高峰时间常常发生交通堵塞。
373 sublime xhVyW     
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。
374 eloquent ymLyN     
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。
375 devoted xu9zka     
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。
376 commonwealth XXzyp     
n.共和国,联邦,共同体
参考例句:
  • He is the chairman of the commonwealth of artists.他是艺术家协会的主席。
  • Most of the members of the Commonwealth are nonwhite.英联邦的许多成员国不是白人国家。
377 conciliation jYOyy     
n.调解,调停
参考例句:
  • By conciliation,cooperation is established.通过调解,友好合作关系得以确立。
  • Their attempts at conciliation had failed and both sides were once again in dispute.他们进行调停的努力失败了,双方再次陷入争吵。
378 solely FwGwe     
adv.仅仅,唯一地
参考例句:
  • Success should not be measured solely by educational achievement.成功与否不应只用学业成绩来衡量。
  • The town depends almost solely on the tourist trade.这座城市几乎完全靠旅游业维持。
379 gratitude p6wyS     
adj.感激,感谢
参考例句:
  • I have expressed the depth of my gratitude to him.我向他表示了深切的谢意。
  • She could not help her tears of gratitude rolling down her face.她感激的泪珠禁不住沿着面颊流了下来。
380 persistence hSLzh     
n.坚持,持续,存留
参考例句:
  • The persistence of a cough in his daughter puzzled him.他女儿持续的咳嗽把他难住了。
  • He achieved success through dogged persistence.他靠着坚持不懈取得了成功。
381 taxation tqVwP     
n.征税,税收,税金
参考例句:
  • He made a number of simplifications in the taxation system.他在税制上作了一些简化。
  • The increase of taxation is an important fiscal policy.增税是一项重要的财政政策。
382 impeachment fqSzd5     
n.弹劾;控告;怀疑
参考例句:
  • Impeachment is considered a drastic measure in the United States.在美国,弹劾被视为一种非常激烈的措施。
  • The verdict resulting from his impeachment destroyed his political career.他遭弹劾后得到的判决毁了他的政治生涯。
383 acquitted c33644484a0fb8e16df9d1c2cd057cb0     
宣判…无罪( acquit的过去式和过去分词 ); 使(自己)作出某种表现
参考例句:
  • The jury acquitted him of murder. 陪审团裁决他谋杀罪不成立。
  • Five months ago she was acquitted on a shoplifting charge. 五个月前她被宣判未犯入店行窃罪。
384 illuminating IqWzgS     
a.富于启发性的,有助阐明的
参考例句:
  • We didn't find the examples he used particularly illuminating. 我们觉得他采用的那些例证启发性不是特别大。
  • I found his talk most illuminating. 我觉得他的话很有启发性。
385 inquiry nbgzF     
n.打听,询问,调查,查问
参考例句:
  • Many parents have been pressing for an inquiry into the problem.许多家长迫切要求调查这个问题。
  • The field of inquiry has narrowed down to five persons.调查的范围已经缩小到只剩5个人了。
386 essentially nntxw     
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。
387 cadence bccyi     
n.(说话声调的)抑扬顿挫
参考例句:
  • He delivered his words in slow,measured cadences.他讲话缓慢而抑扬顿挫、把握有度。
  • He liked the relaxed cadence of his retired life.他喜欢退休生活的悠闲的节奏。
388 homely Ecdxo     
adj.家常的,简朴的;不漂亮的
参考例句:
  • We had a homely meal of bread and cheese.我们吃了一顿面包加乳酪的家常便餐。
  • Come and have a homely meal with us,will you?来和我们一起吃顿家常便饭,好吗?
389 majestic GAZxK     
adj.雄伟的,壮丽的,庄严的,威严的,崇高的
参考例句:
  • In the distance rose the majestic Alps.远处耸立着雄伟的阿尔卑斯山。
  • He looks majestic in uniform.他穿上军装显得很威风。
390 mere rC1xE     
adj.纯粹的;仅仅,只不过
参考例句:
  • That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
  • It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。
391 permanently KluzuU     
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。
392 potent C1uzk     
adj.强有力的,有权势的;有效力的
参考例句:
  • The medicine had a potent effect on your disease.这药物对你的病疗效很大。
  • We must account of his potent influence.我们必须考虑他的强有力的影响。
393 wary JMEzk     
adj.谨慎的,机警的,小心的
参考例句:
  • He is wary of telling secrets to others.他谨防向他人泄露秘密。
  • Paula frowned,suddenly wary.宝拉皱了皱眉头,突然警惕起来。
394 memoir O7Hz7     
n.[pl.]回忆录,自传;记事录
参考例句:
  • He has just published a memoir in honour of his captain.他刚刚出了一本传记来纪念他的队长。
  • In her memoir,the actress wrote about the bittersweet memories of her first love.在那个女演员的自传中,她写到了自己苦乐掺半的初恋。
395 memoirs f752e432fe1fefb99ab15f6983cd506c     
n.回忆录;回忆录传( mem,自oir的名词复数)
参考例句:
  • Her memoirs were ghostwritten. 她的回忆录是由别人代写的。
  • I watched a trailer for the screenplay of his memoirs. 我看过以他的回忆录改编成电影的预告片。 来自《简明英汉词典》
396 paternal l33zv     
adj.父亲的,像父亲的,父系的,父方的
参考例句:
  • I was brought up by my paternal aunt.我是姑姑扶养大的。
  • My father wrote me a letter full of his paternal love for me.我父亲给我写了一封充满父爱的信。
397 meditated b9ec4fbda181d662ff4d16ad25198422     
深思,沉思,冥想( meditate的过去式和过去分词 ); 内心策划,考虑
参考例句:
  • He meditated for two days before giving his answer. 他在作出答复之前考虑了两天。
  • She meditated for 2 days before giving her answer. 她考虑了两天才答复。
398 musing musing     
n. 沉思,冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式
参考例句:
  • "At Tellson's banking-house at nine," he said, with a musing face. “九点在台尔森银行大厦见面,”他想道。 来自英汉文学 - 双城记
  • She put the jacket away, and stood by musing a minute. 她把那件上衣放到一边,站着沉思了一会儿。
399 barbarians c52160827c97a5d2143268a1299b1903     
n.野蛮人( barbarian的名词复数 );外国人;粗野的人;无教养的人
参考例句:
  • The ancient city of Rome fell under the iron hooves of the barbarians. 古罗马城在蛮族的铁蹄下沦陷了。 来自《简明英汉词典》
  • It conquered its conquerors, the barbarians. 它战胜了征服者——蛮族。 来自英汉非文学 - 历史
400 splendor hriy0     
n.光彩;壮丽,华丽;显赫,辉煌
参考例句:
  • Never in his life had he gazed on such splendor.他生平从没有见过如此辉煌壮丽的场面。
  • All the splendor in the world is not worth a good friend.人世间所有的荣华富贵不如一个好朋友。
401 criticise 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!
402 sift XEAza     
v.筛撒,纷落,详察
参考例句:
  • Sift out the wheat from the chaff.把小麦的壳筛出来。
  • Sift sugar on top of the cake.在蛋糕上面撒上糖。
403 sifted 9e99ff7bb86944100bb6d7c842e48f39     
v.筛( sift的过去式和过去分词 );筛滤;细查;详审
参考例句:
  • She sifted through her papers to find the lost letter. 她仔细在文件中寻找那封丢失的信。 来自《简明英汉词典》
  • She sifted thistles through her thistle-sifter. 她用蓟筛筛蓟。 来自《简明英汉词典》
404 discriminating 4umz8W     
a.有辨别能力的
参考例句:
  • Due caution should be exercised in discriminating between the two. 在区别这两者时应该相当谨慎。
  • Many businesses are accused of discriminating against women. 许多企业被控有歧视妇女的做法。
405 copious koizs     
adj.丰富的,大量的
参考例句:
  • She supports her theory with copious evidences.她以大量的例证来充实自己的理论。
  • Every star is a copious source of neutrinos.每颗恒星都是丰富的中微子源。
406 pageants 2a20528523b0fea5361e375e619f694c     
n.盛装的游行( pageant的名词复数 );穿古代服装的游行;再现历史场景的娱乐活动;盛会
参考例句:
  • It is young people who favor holding Beauty pageants. 赞成举办选美的是年轻人。 来自互联网
  • Others say that there's a fine line between the pageants and sexual exploitation. 其他人说,选美和性剥削之间只有非常细微的界线。 来自互联网
407 frankly fsXzcf     
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。
408 fulfills 192c9e43c3273d87e5e92f3b1994933e     
v.履行(诺言等)( fulfill的第三人称单数 );执行(命令等);达到(目的);使结束
参考例句:
  • He always fulfills his promises. 他总是履行自己的诺言。 来自辞典例句
  • His own work amply fulfills this robust claim. 他自己的作品在很大程度上实现了这一正确主张。 来自辞典例句
409 bondage 0NtzR     
n.奴役,束缚
参考例句:
  • Masters sometimes allowed their slaves to buy their way out of bondage.奴隶主们有时允许奴隶为自己赎身。
  • They aim to deliver the people who are in bondage to superstitious belief.他们的目的在于解脱那些受迷信束缚的人。
410 toiler 4c0b40efb067121a406892aca7519fdf     
辛劳者,勤劳者
参考例句:
  • Says the soul of the toiler to itself, "I shall soon be free. ”那些辛劳一天的人们在对自己说:“总算可以歇口气了。”
  • What do you have in the way of toiler soap? 你们有哪些香皂?
411 crumbled 32aad1ed72782925f55b2641d6bf1516     
(把…)弄碎, (使)碎成细屑( crumble的过去式和过去分词 ); 衰落; 坍塌; 损坏
参考例句:
  • He crumbled the bread in his fingers. 他用手指把面包捻碎。
  • Our hopes crumbled when the business went bankrupt. 商行破产了,我们的希望也破灭了。
412 prudent M0Yzg     
adj.谨慎的,有远见的,精打细算的
参考例句:
  • A prudent traveller never disparages his own country.聪明的旅行者从不贬低自己的国家。
  • You must school yourself to be modest and prudent.你要学会谦虚谨慎。
413 appreciable KNWz7     
adj.明显的,可见的,可估量的,可觉察的
参考例句:
  • There is no appreciable distinction between the twins.在这对孪生子之间看不出有什么明显的差别。
  • We bought an appreciable piece of property.我们买下的资产有增值的潜力。
414 deserted GukzoL     
adj.荒芜的,荒废的,无人的,被遗弃的
参考例句:
  • The deserted village was filled with a deathly silence.这个荒废的村庄死一般的寂静。
  • The enemy chieftain was opposed and deserted by his followers.敌人头目众叛亲离。
415 outrage hvOyI     
n.暴行,侮辱,愤怒;vt.凌辱,激怒
参考例句:
  • When he heard the news he reacted with a sense of outrage.他得悉此事时义愤填膺。
  • We should never forget the outrage committed by the Japanese invaders.我们永远都不应该忘记日本侵略者犯下的暴行。
416 obdurate N5Dz0     
adj.固执的,顽固的
参考例句:
  • He is obdurate in his convictions.他执着于自己所坚信的事。
  • He remained obdurate,refusing to alter his decision.他依然固执己见,拒不改变决定。
417 culminated 2d1e3f978078666a2282742e3d1ca461     
v.达到极点( culminate的过去式和过去分词 )
参考例句:
  • a gun battle which culminated in the death of two police officers 一场造成两名警察死亡的枪战
  • The gala culminated in a firework display. 晚会以大放烟火告终。 来自《简明英汉词典》
418 varied giIw9     
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。
419 strictly GtNwe     
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。
420 reverence BByzT     
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。
421 sagas e8dca32d4d34a71e9adfd36b93ebca41     
n.萨迦(尤指古代挪威或冰岛讲述冒险经历和英雄业绩的长篇故事)( saga的名词复数 );(讲述许多年间发生的事情的)长篇故事;一连串的事件(或经历);一连串经历的讲述(或记述)
参考例句:
  • Artwork depicted the historical sagas and biblical tales for the illiterate faithful. 墙上的插图为不识字的信徒描绘了历史传说和圣经故事。 来自互联网
  • It will complete one of the most remarkable transfer sagas in English football. 到时候,英格兰史上最有名的转会传奇故事之一将落下帷幕。 来自互联网
422 illustrate IaRxw     
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。
423 tolls 688e46effdf049725c7b7ccff16b14f3     
(缓慢而有规律的)钟声( toll的名词复数 ); 通行费; 损耗; (战争、灾难等造成的)毁坏
参考例句:
  • A man collected tolls at the gateway. 一个人在大门口收通行费。
  • The long-distance call tolls amount to quite a sum. 长途电话费数目相当可观。
424 knell Bxry1     
n.丧钟声;v.敲丧钟
参考例句:
  • That is the death knell of the British Empire.这是不列颠帝国的丧钟。
  • At first he thought it was a death knell.起初,他以为是死亡的丧钟敲响了。
425 herd Pd8zb     
n.兽群,牧群;vt.使集中,把…赶在一起
参考例句:
  • She drove the herd of cattle through the wilderness.她赶着牛群穿过荒野。
  • He had no opinions of his own but simply follow the herd.他从无主见,只是人云亦云。
426 plow eu5yE     
n.犁,耕地,犁过的地;v.犁,费力地前进[英]plough
参考例句:
  • At this time of the year farmers plow their fields.每年这个时候农民们都在耕地。
  • We will plow the field soon after the last frost.最后一场霜过后,我们将马上耕田。
427 plods 351606cd2daf1181a3af04d521cbd082     
v.沉重缓慢地走(路)( plod的第三人称单数 );努力从事;沉闷地苦干;缓慢进行(尤指艰难枯燥的工作)
参考例句:
  • He plods away at his lessons until he learns them. 他埋头学习功课直到学会为止。 来自辞典例句
  • Mr. Weaver stretches, yawns, rises reluctantly and plods heavily into the bathroom. 韦佛先生伸伸懒腰打了个呵欠,勉强起床,迈着沉重的脚步走进浴室去。 来自辞典例句
428 glimmering 7f887db7600ddd9ce546ca918a89536a     
n.微光,隐约的一瞥adj.薄弱地发光的v.发闪光,发微光( glimmer的现在分词 )
参考例句:
  • I got some glimmering of what he was driving at. 他这么说是什么意思,我有点明白了。 来自辞典例句
  • Now that darkness was falling, only their silhouettes were outlined against the faintly glimmering sky. 这时节两山只剩余一抹深黑,赖天空微明为画出一个轮廓。 来自汉英文学 - 散文英译
429 beetle QudzV     
n.甲虫,近视眼的人
参考例句:
  • A firefly is a type of beetle.萤火虫是一种甲虫。
  • He saw a shiny green beetle on a leaf.我看见树叶上有一只闪闪发光的绿色甲虫。
430 drowsy DkYz3     
adj.昏昏欲睡的,令人发困的
参考例句:
  • Exhaust fumes made him drowsy and brought on a headache.废气把他熏得昏昏沉沉,还引起了头疼。
  • I feel drowsy after lunch every day.每天午饭后我就想睡觉。
431 lull E8hz7     
v.使安静,使入睡,缓和,哄骗;n.暂停,间歇
参考例句:
  • The drug put Simpson in a lull for thirty minutes.药物使辛普森安静了30分钟。
  • Ground fighting flared up again after a two-week lull.经过两个星期的平静之后,地面战又突然爆发了。
432 infancy F4Ey0     
n.婴儿期;幼年期;初期
参考例句:
  • He came to England in his infancy.他幼年时期来到英国。
  • Their research is only in its infancy.他们的研究处于初级阶段。
433 hoods c7f425b95a130f8e5c065ebce960d6f5     
n.兜帽( hood的名词复数 );头巾;(汽车、童车等的)折合式车篷;汽车发动机罩v.兜帽( hood的第三人称单数 );头巾;(汽车、童车等的)折合式车篷;汽车发动机罩
参考例句:
  • Michael looked at the four hoods sitting in the kitchen. 迈克尔瞅了瞅坐在厨房里的四条汉子。 来自教父部分
  • Eskimos wear hoods to keep their heads warm. 爱斯基摩人戴兜帽使头暖和。 来自辞典例句
434 beaver uuZzU     
n.海狸,河狸
参考例句:
  • The hat is made of beaver.这顶帽子是海狸毛皮制的。
  • A beaver is an animals with big front teeth.海狸是一种长着大门牙的动物。
435 precipice NuNyW     
n.悬崖,危急的处境
参考例句:
  • The hut hung half over the edge of the precipice.那间小屋有一半悬在峭壁边上。
  • A slight carelessness on this precipice could cost a man his life.在这悬崖上稍一疏忽就会使人丧生。
436 torrent 7GCyH     
n.激流,洪流;爆发,(话语等的)连发
参考例句:
  • The torrent scoured a channel down the hillside. 急流沿着山坡冲出了一条沟。
  • Her pent-up anger was released in a torrent of words.她压抑的愤怒以滔滔不绝的话爆发了出来。
437 sketched 7209bf19355618c1eb5ca3c0fdf27631     
v.草拟(sketch的过去式与过去分词形式)
参考例句:
  • The historical article sketched the major events of the decade. 这篇有关历史的文章概述了这十年中的重大事件。 来自《简明英汉词典》
  • He sketched the situation in a few vivid words. 他用几句生动的语言简述了局势。 来自《现代汉英综合大词典》
438 emancipation Sjlzb     
n.(从束缚、支配下)解放
参考例句:
  • We must arouse them to fight for their own emancipation. 我们必须唤起他们为其自身的解放而斗争。 来自《简明英汉词典》
  • They rejoiced over their own emancipation. 他们为自己的解放感到欢欣鼓舞。 来自《简明英汉词典》
439 minor e7fzR     
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修
参考例句:
  • The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
  • I gave him a minor share of my wealth.我把小部分财产给了他。
440 prospect P01zn     
n.前景,前途;景色,视野
参考例句:
  • This state of things holds out a cheerful prospect.事态呈现出可喜的前景。
  • The prospect became more evident.前景变得更加明朗了。
441 bard QPCyM     
n.吟游诗人
参考例句:
  • I'll use my bard song to help you concentrate!我会用我的吟游诗人歌曲帮你集中精神!
  • I find him,the wandering grey bard.我发现了正在徘徊的衰老游唱诗人。
442 frenzy jQbzs     
n.疯狂,狂热,极度的激动
参考例句:
  • He was able to work the young students up into a frenzy.他能激起青年学生的狂热。
  • They were singing in a frenzy of joy.他们欣喜若狂地高声歌唱。
443 prophesies 730e0c586e84103066878ed0d3772638     
v.预告,预言( prophesy的第三人称单数 )
参考例句:
  • The Frate neither rails nor prophesies against any man. 这里修士对任何人既不斥骂,也不预言。 来自辞典例句
  • Whoever speaks in a tongue builds himself up, but whoever prophesies builds up the church. 那说语言的,是建立自己;那讲先知话的,却是建立教会。 来自互联网
444 tyrant vK9z9     
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。
445 plunges 2f33cd11dab40d0fb535f0437bcb9bb1     
n.跳进,投入vt.使投入,使插入,使陷入vi.投入,跳进,陷入v.颠簸( plunge的第三人称单数 );暴跌;骤降;突降
参考例句:
  • Even before he plunges into his program, he has his audience in his pocket. 他的节目甚至还没有出场,就已控制住了观众。 来自《简明英汉词典》
  • 'Monseigneur, he precipitated himself over the hill-side, head first, as a person plunges into the river.' “大人,他头冲下跳下山坡去了,像往河里跳一样。” 来自英汉文学 - 双城记
446 antiquities c0cf3d8a964542256e19beef0e9faa29     
n.古老( antiquity的名词复数 );古迹;古人们;古代的风俗习惯
参考例句:
  • There is rest and healing in the contemplation of antiquities. 欣赏古物有休息和疗养之功。 来自辞典例句
  • Bertha developed a fine enthusiasm for the antiquities of London. 伯沙对伦敦的古迹产生了很大的热情。 来自辞典例句
447 awakened de71059d0b3cd8a1de21151c9166f9f0     
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》
448 versatile 4Lbzl     
adj.通用的,万用的;多才多艺的,多方面的
参考例句:
  • A versatile person is often good at a number of different things.多才多艺的人通常擅长许多种不同的事情。
  • He had been one of the game's most versatile athletes.他是这项运动中技术最全面的运动员之一。
449 awakens 8f28b6f7db9761a7b3cb138b2d5a123c     
v.(使)醒( awaken的第三人称单数 );(使)觉醒;弄醒;(使)意识到
参考例句:
  • The scene awakens reminiscences of my youth. 这景象唤起我年轻时的往事。 来自《现代英汉综合大词典》
  • The child awakens early in the morning. 这个小孩早晨醒得早。 来自辞典例句
450 primrose ctxyr     
n.樱草,最佳部分,
参考例句:
  • She is in the primrose of her life.她正处在她一生的最盛期。
  • The primrose is set off by its nest of green.一窝绿叶衬托着一朵樱草花。
451 ballads 95577d817acb2df7c85c48b13aa69676     
民歌,民谣,特别指叙述故事的歌( ballad的名词复数 ); 讴
参考例句:
  • She belted out ballads and hillbilly songs one after another all evening. 她整晚一个接一个地大唱民谣和乡村小调。
  • She taught him to read and even to sing two or three little ballads,accompanying him on her old piano. 她教他读书,还教他唱两三首民谣,弹着她的旧钢琴为他伴奏。
452 dime SuQxv     
n.(指美国、加拿大的钱币)一角
参考例句:
  • A dime is a tenth of a dollar.一角银币是十分之一美元。
  • The liberty torch is on the back of the dime.自由火炬在一角硬币的反面。
453 ministry kD5x2     
n.(政府的)部;牧师
参考例句:
  • They sent a deputation to the ministry to complain.他们派了一个代表团到部里投诉。
  • We probed the Air Ministry statements.我们调查了空军部的记录。
454 cork VoPzp     
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。
455 embark qZKzC     
vi.乘船,着手,从事,上飞机
参考例句:
  • He is about to embark on a new business venture.他就要开始新的商业冒险活动。
  • Many people embark for Europe at New York harbor.许多人在纽约港乘船去欧洲。
456 amiable hxAzZ     
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。
457 teller yggzeP     
n.银行出纳员;(选举)计票员
参考例句:
  • The bank started her as a teller.银行起用她当出纳员。
  • The teller tried to remain aloof and calm.出纳员力图保持冷漠和镇静。
458 flute hj9xH     
n.长笛;v.吹笛
参考例句:
  • He took out his flute, and blew at it.他拿出笛子吹了起来。
  • There is an extensive repertoire of music written for the flute.有很多供长笛演奏的曲目。
459 comedian jWfyW     
n.喜剧演员;滑稽演员
参考例句:
  • The comedian tickled the crowd with his jokes.喜剧演员的笑话把人们逗乐了。
  • The comedian enjoyed great popularity during the 30's.那位喜剧演员在三十年代非常走红。
460 usher sK2zJ     
n.带位员,招待员;vt.引导,护送;vi.做招待,担任引座员
参考例句:
  • The usher seated us in the front row.引座员让我们在前排就座。
  • They were quickly ushered away.他们被迅速领开。
461 invaluable s4qxe     
adj.无价的,非常宝贵的,极为贵重的
参考例句:
  • A computer would have been invaluable for this job.一台计算机对这个工作的作用会是无法估计的。
  • This information was invaluable to him.这个消息对他来说是非常宝贵的。
462 justified 7pSzrk     
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。
463 inordinate c6txn     
adj.无节制的;过度的
参考例句:
  • The idea of this gave me inordinate pleasure.我想到这一点感到非常高兴。
  • James hints that his heroine's demands on life are inordinate.詹姆斯暗示他的女主人公对于人生过于苛求。
464 velvet 5gqyO     
n.丝绒,天鹅绒;adj.丝绒制的,柔软的
参考例句:
  • This material feels like velvet.这料子摸起来像丝绒。
  • The new settlers wore the finest silk and velvet clothing.新来的移民穿着最华丽的丝绸和天鹅绒衣服。
465 inaccurate D9qx7     
adj.错误的,不正确的,不准确的
参考例句:
  • The book is both inaccurate and exaggerated.这本书不但不准确,而且夸大其词。
  • She never knows the right time because her watch is inaccurate.她从来不知道准确的时间因为她的表不准。
466 animated Cz7zMa     
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。
467 magpie oAqxF     
n.喜欢收藏物品的人,喜鹊,饶舌者
参考例句:
  • Now and then a magpie would call.不时有喜鹊的叫声。
  • This young man is really a magpie.这个年轻人真是饶舌。
468 homeliness 8f2090f6a2bd792a5be3a0973188257a     
n.简朴,朴实;相貌平平
参考例句:
  • Fine clothes could not conceal the girl's homeliness. 华丽的衣服并不能掩盖这个女孩的寻常容貌。 来自《简明英汉词典》
469 absurdities df766e7f956019fcf6a19cc2525cadfb     
n.极端无理性( absurdity的名词复数 );荒谬;谬论;荒谬的行为
参考例句:
  • She has a sharp eye for social absurdities, and compassion for the victims of social change. 她独具慧眼,能够看到社会上荒唐的事情,对于社会变革的受害者寄以同情。 来自辞典例句
  • The absurdities he uttered at the dinner party landed his wife in an awkward situation. 他在宴会上讲的荒唐话使他太太陷入窘境。 来自辞典例句
470 butt uSjyM     
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。
471 contagious TZ0yl     
adj.传染性的,有感染力的
参考例句:
  • It's a highly contagious infection.这种病极易传染。
  • He's got a contagious laugh.他的笑富有感染力。
472 quack f0JzI     
n.庸医;江湖医生;冒充内行的人;骗子
参考例句:
  • He describes himself as a doctor,but I feel he is a quack.他自称是医生,可是我感觉他是个江湖骗子。
  • The quack was stormed with questions.江湖骗子受到了猛烈的质问。
473 frailties 28d94bf15a4044cac62ab96a25d3ef62     
n.脆弱( frailty的名词复数 );虚弱;(性格或行为上的)弱点;缺点
参考例句:
  • The fact indicates the economic frailties of this type of farming. 这一事实表明,这种类型的农业在经济上有其脆弱性。 来自辞典例句
  • He failed therein to take account of the frailties of human nature--the difficulties of matrimonial life. 在此,他没有考虑到人性的种种弱点--夫妻生活的种种难处。 来自英汉文学 - 嘉莉妹妹
474 frail yz3yD     
adj.身体虚弱的;易损坏的
参考例句:
  • Mrs. Warner is already 96 and too frail to live by herself.华纳太太已经九十六岁了,身体虚弱,不便独居。
  • She lay in bed looking particularly frail.她躺在床上,看上去特别虚弱。
475 ledger 014xk     
n.总帐,分类帐;帐簿
参考例句:
  • The young man bowed his head and bent over his ledger again.那个年轻人点头应诺,然后又埋头写起分类帐。
  • She is a real accountant who even keeps a detailed household ledger.她不愧是搞财务的,家庭分类账记得清楚详细。
476 permeated 5fe75f31bda63acdd5d0ee4bbd196747     
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。
477 intrigue Gaqzy     
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋
参考例句:
  • Court officials will intrigue against the royal family.法院官员将密谋反对皇室。
  • The royal palace was filled with intrigue.皇宫中充满了勾心斗角。
478 bustling LxgzEl     
adj.喧闹的
参考例句:
  • The market was bustling with life. 市场上生机勃勃。
  • This district is getting more and more prosperous and bustling. 这一带越来越繁华了。
479 shun 6EIzc     
vt.避开,回避,避免
参考例句:
  • Materialists face truth,whereas idealists shun it.唯物主义者面向真理,唯心主义者则逃避真理。
  • This extremist organization has shunned conventional politics.这个极端主义组织有意避开了传统政治。
480 briefly 9Styo     
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。
481 tribulation Kmywb     
n.苦难,灾难
参考例句:
  • Even in our awful tribulation we were quite optimistic.即使在极端痛苦时,我们仍十分乐观。
  • I hate the tribulation,I commiserate the sorrow brought by tribulation.我厌恶别人深重的苦难,怜悯苦难带来的悲哀。
482 imprisonment I9Uxk     
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。
483 triumphant JpQys     
adj.胜利的,成功的;狂欢的,喜悦的
参考例句:
  • The army made a triumphant entry into the enemy's capital.部队胜利地进入了敌方首都。
  • There was a positively triumphant note in her voice.她的声音里带有一种极为得意的语气。
484 martyrs d8bbee63cb93081c5677dc671dc968fc     
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》
485 arena Yv4zd     
n.竞技场,运动场所;竞争场所,舞台
参考例句:
  • She entered the political arena at the age of 25. 她25岁进入政界。
  • He had not an adequate arena for the exercise of his talents.他没有充分发挥其才能的场所。
486 blessing UxDztJ     
n.祈神赐福;祷告;祝福,祝愿
参考例句:
  • The blessing was said in Hebrew.祷告用了希伯来语。
  • A double blessing has descended upon the house.双喜临门。
487 glorified 74d607c2a7eb7a7ef55bda91627eda5a     
美其名的,变荣耀的
参考例句:
  • The restaurant was no more than a glorified fast-food cafe. 这地方美其名曰餐馆,其实只不过是个快餐店而已。
  • The author glorified the life of the peasants. 那个作者赞美了农民的生活。
488 hamper oyGyk     
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。
489 hampered 3c5fb339e8465f0b89285ad0a790a834     
妨碍,束缚,限制( hamper的过去式和过去分词 )
参考例句:
  • The search was hampered by appalling weather conditions. 恶劣的天气妨碍了搜寻工作。
  • So thought every harassed, hampered, respectable boy in St. Petersburg. 圣彼德堡镇的那些受折磨、受拘束的体面孩子们个个都是这么想的。
490 lank f9hzd     
adj.瘦削的;稀疏的
参考例句:
  • He rose to lank height and grasped Billy McMahan's hand.他瘦削的身躯站了起来,紧紧地握住比利·麦默恩的手。
  • The old man has lank hair.那位老人头发稀疏
491 thawed fbd380b792ac01e07423c2dd9206dd21     
解冻
参考例句:
  • The little girl's smile thawed the angry old man. 小姑娘的微笑使发怒的老头缓和下来。 来自《简明英汉词典》
  • He thawed after sitting at a fire for a while. 在火堆旁坐了一会儿,他觉得暖和起来了。 来自《简明英汉词典》
492 reins 370afc7786679703b82ccfca58610c98     
感情,激情; 缰( rein的名词复数 ); 控制手段; 掌管; (成人带着幼儿走路以防其走失时用的)保护带
参考例句:
  • She pulled gently on the reins. 她轻轻地拉着缰绳。
  • The government has imposed strict reins on the import of luxury goods. 政府对奢侈品的进口有严格的控制手段。
493 predecessor qP9x0     
n.前辈,前任
参考例句:
  • It will share the fate of its predecessor.它将遭受与前者同样的命运。
  • The new ambassador is more mature than his predecessor.新大使比他的前任更成熟一些。
494 miserable g18yk     
adj.悲惨的,痛苦的;可怜的,糟糕的
参考例句:
  • It was miserable of you to make fun of him.你取笑他,这是可耻的。
  • Her past life was miserable.她过去的生活很苦。
495 bully bully     
n.恃强欺弱者,小流氓;vt.威胁,欺侮
参考例句:
  • A bully is always a coward.暴汉常是懦夫。
  • The boy gave the bully a pelt on the back with a pebble.那男孩用石子掷击小流氓的背脊。
496 buckles 9b6f57ea84ab184d0a14e4f889795f56     
搭扣,扣环( buckle的名词复数 )
参考例句:
  • She gazed proudly at the shiny buckles on her shoes. 她骄傲地注视着鞋上闪亮的扣环。
  • When the plate becomes unstable, it buckles laterally. 当板失去稳定时,就发生横向屈曲。
497 affected TzUzg0     
adj.不自然的,假装的
参考例句:
  • She showed an affected interest in our subject.她假装对我们的课题感到兴趣。
  • His manners are affected.他的态度不自然。
498 patrimony 7LuxB     
n.世袭财产,继承物
参考例句:
  • I left my parents' house,relinquished my estate and my patrimony.我离开了父母的家,放弃了我的房产和祖传财产。
  • His grandfather left the patrimony to him.他的祖父把祖传的财物留给了他。
499 quaintly 7kzz9p     
adv.古怪离奇地
参考例句:
  • "I don't see what that's got to do with it,'said the drummer quaintly. “我看不出这和你的事有什么联系,"杜洛埃说道,他感到莫名其妙。 来自英汉文学 - 嘉莉妹妹
  • He is quaintly dressed, what a strange one he is. 他一身的奇装异服,真是另类!
500 morbid u6qz3     
adj.病的;致病的;病态的;可怕的
参考例句:
  • Some people have a morbid fascination with crime.一些人对犯罪有一种病态的痴迷。
  • It's morbid to dwell on cemeteries and such like.不厌其烦地谈论墓地以及诸如此类的事是一种病态。
501 vein fi9w0     
n.血管,静脉;叶脉,纹理;情绪;vt.使成脉络
参考例句:
  • The girl is not in the vein for singing today.那女孩今天没有心情唱歌。
  • The doctor injects glucose into the patient's vein.医生把葡萄糖注射入病人的静脉。
502 brooks cdbd33f49d2a6cef435e9a42e9c6670f     
n.小溪( brook的名词复数 )
参考例句:
  • Brooks gave the business when Haas caught him with his watch. 哈斯抓到偷他的手表的布鲁克斯时,狠狠地揍了他一顿。 来自《简明英汉词典》
  • Ade and Brooks exchanged blows yesterday and they were severely punished today. 艾德和布鲁克斯昨天打起来了,今天他们受到严厉的惩罚。 来自《简明英汉词典》
503 lumbering FA7xm     
n.采伐林木
参考例句:
  • Lumbering and, later, paper-making were carried out in smaller cities. 木材业和后来的造纸都由较小的城市经营。
  • Lumbering is very important in some underdeveloped countries. 在一些不发达的国家,伐木业十分重要。
504 destined Dunznz     
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。
505 trickled 636e70f14e72db3fe208736cb0b4e651     
v.滴( trickle的过去式和过去分词 );淌;使)慢慢走;缓慢移动
参考例句:
  • Blood trickled down his face. 血从他脸上一滴滴流下来。 来自《简明英汉词典》
  • The tears trickled down her cheeks. 热泪一滴滴从她脸颊上滚下来。 来自《简明英汉词典》
506 quill 7SGxQ     
n.羽毛管;v.给(织物或衣服)作皱褶
参考例句:
  • He wrote with a quill.他用羽毛笔写字。
  • She dipped a quill in ink,and then began to write.她将羽毛笔在墨水里蘸了一下,随后开始书写。
507 amorous Menys     
adj.多情的;有关爱情的
参考例句:
  • They exchanged amorous glances and clearly made known their passions.二人眉来眼去,以目传情。
  • She gave him an amorous look.她脉脉含情的看他一眼。
508 laborious VxoyD     
adj.吃力的,努力的,不流畅
参考例句:
  • They had the laborious task of cutting down the huge tree.他们接受了伐大树的艰苦工作。
  • Ants and bees are laborious insects.蚂蚁与蜜蜂是勤劳的昆虫。
509 rendering oV5xD     
n.表现,描写
参考例句:
  • She gave a splendid rendering of Beethoven's piano sonata.她精彩地演奏了贝多芬的钢琴奏鸣曲。
  • His narrative is a super rendering of dialect speech and idiom.他的叙述是方言和土语最成功的运用。
510 monarch l6lzj     
n.帝王,君主,最高统治者
参考例句:
  • The monarch's role is purely ceremonial.君主纯粹是个礼仪职位。
  • I think myself happier now than the greatest monarch upon earth.我觉得这个时候比世界上什么帝王都快乐。
511 chuckles dbb3c2dbccec4daa8f44238e4cffd25c     
轻声地笑( chuckle的名词复数 )
参考例句:
  • Father always chuckles when he reads the funny papers. 父亲在读幽默报纸时总是低声发笑。
  • [Chuckles] You thought he was being poisoned by hemlock? 你觉得他中的会是芹叶钩吻毒吗?
512 heartily Ld3xp     
adv.衷心地,诚恳地,十分,很
参考例句:
  • He ate heartily and went out to look for his horse.他痛快地吃了一顿,就出去找他的马。
  • The host seized my hand and shook it heartily.主人抓住我的手,热情地和我握手。
513 stanza RFoyc     
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。
514 primitive vSwz0     
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。
515 aspirations a60ebedc36cdd304870aeab399069f9e     
强烈的愿望( aspiration的名词复数 ); 志向; 发送气音; 发 h 音
参考例句:
  • I didn't realize you had political aspirations. 我没有意识到你有政治上的抱负。
  • The new treaty embodies the aspirations of most nonaligned countries. 新条约体现了大多数不结盟国家的愿望。
516 creed uoxzL     
n.信条;信念,纲领
参考例句:
  • They offended against every article of his creed.他们触犯了他的每一条戒律。
  • Our creed has always been that business is business.我们的信条一直是公私分明。
517 stanzas 1e39fe34fae422643886648813bd6ab1     
节,段( stanza的名词复数 )
参考例句:
  • The poem has six stanzas. 这首诗有六小节。
  • Stanzas are different from each other in one poem. 诗中节与节差异颇大。
518 trudge uK2zq     
v.步履艰难地走;n.跋涉,费力艰难的步行
参考例句:
  • It was a hard trudge up the hill.这趟上山是一次艰难的跋涉。
  • The trudge through the forest will be tiresome.长途跋涉穿越森林会令人疲惫不堪。
519 attire AN0zA     
v.穿衣,装扮[同]array;n.衣着;盛装
参考例句:
  • He had no intention of changing his mode of attire.他无意改变着装方式。
  • Her attention was attracted by his peculiar attire.他那奇特的服装引起了她的注意。
520 bleak gtWz5     
adj.(天气)阴冷的;凄凉的;暗淡的
参考例句:
  • They showed me into a bleak waiting room.他们引我来到一间阴冷的会客室。
  • The company's prospects look pretty bleak.这家公司的前景异常暗淡。
521 toiled 599622ddec16892278f7d146935604a3     
长时间或辛苦地工作( toil的过去式和过去分词 ); 艰难缓慢地移动,跋涉
参考例句:
  • They toiled up the hill in the blazing sun. 他们冒着炎炎烈日艰难地一步一步爬上山冈。
  • He toiled all day long but earned very little. 他整天劳碌但挣得很少。
522 careworn YTUyF     
adj.疲倦的,饱经忧患的
参考例句:
  • It's sad to see the careworn face of the mother of a large poor family.看到那贫穷的一大家子的母亲忧劳憔悴的脸庞心里真是难受。
  • The old woman had a careworn look on her face.老妇脸上露出忧心忡忡的神色。
523 unpaid fjEwu     
adj.未付款的,无报酬的
参考例句:
  • Doctors work excessive unpaid overtime.医生过度加班却无报酬。
  • He's doing a month's unpaid work experience with an engineering firm.他正在一家工程公司无偿工作一个月以获得工作经验。
524 solitude xF9yw     
n. 孤独; 独居,荒僻之地,幽静的地方
参考例句:
  • People need a chance to reflect on spiritual matters in solitude. 人们需要独处的机会来反思精神上的事情。
  • They searched for a place where they could live in solitude. 他们寻找一个可以过隐居生活的地方。
525 eldest bqkx6     
adj.最年长的,最年老的
参考例句:
  • The King's eldest son is the heir to the throne.国王的长子是王位的继承人。
  • The castle and the land are entailed on the eldest son.城堡和土地限定由长子继承。
526 hermit g58y3     
n.隐士,修道者;隐居
参考例句:
  • He became a hermit after he was dismissed from office.他被解职后成了隐士。
  • Chinese ancient landscape poetry was in natural connections with hermit culture.中国古代山水诗与隐士文化有着天然联系。
527 galley rhwxE     
n.(飞机或船上的)厨房单层甲板大帆船;军舰舰长用的大划艇;
参考例句:
  • The stewardess will get you some water from the galley.空姐会从厨房给你拿些水来。
  • Visitors can also go through the large galley where crew members got their meals.游客还可以穿过船员们用餐的厨房。
528 arrears IVYzQ     
n.到期未付之债,拖欠的款项;待做的工作
参考例句:
  • The payments on that car loan are in arrears by three months.购车贷款的偿付被拖欠了三个月。
  • They are urgent for payment of arrears of wages.他们催讨拖欠的工钱。
529 exteriors 6246866048a2b0eb2dd11edd7f460b50     
n.外面( exterior的名词复数 );外貌;户外景色图
参考例句:
  • You mustn't judge people by their exteriors. 你不能以貌取人。 来自《简明英汉词典》
  • Some artists only paint exteriors. 有些艺术家只画户外景色。 来自《简明英汉词典》
530 diligently gueze5     
ad.industriously;carefully
参考例句:
  • He applied himself diligently to learning French. 他孜孜不倦地学法语。
  • He had studied diligently at college. 他在大学里勤奋学习。
531 gathering ChmxZ     
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。
532 ovation JJkxP     
n.欢呼,热烈欢迎,热烈鼓掌
参考例句:
  • The hero received a great ovation from the crowd. 那位英雄受到人群的热烈欢迎。
  • The show won a standing ovation. 这场演出赢得全场起立鼓掌。
533 riotous ChGyr     
adj.骚乱的;狂欢的
参考例句:
  • Summer is in riotous profusion.盛夏的大地热闹纷繁。
  • We spent a riotous night at Christmas.我们度过了一个狂欢之夜。
534 jaunt F3dxj     
v.短程旅游;n.游览
参考例句:
  • They are off for a day's jaunt to the beach.他们出去到海边玩一天。
  • They jaunt about quite a lot,especially during the summer.他们常常到处闲逛,夏天更是如此。
535 highland sdpxR     
n.(pl.)高地,山地
参考例句:
  • The highland game is part of Scotland's cultural heritage.苏格兰高地游戏是苏格兰文化遗产的一部分。
  • The highland forests where few hunters venture have long been the bear's sanctuary.这片只有少数猎人涉险的高山森林,一直都是黑熊的避难所。
536 armour gySzuh     
(=armor)n.盔甲;装甲部队
参考例句:
  • His body was encased in shining armour.他全身披着明晃晃的甲胄。
  • Bulletproof cars sheathed in armour.防弹车护有装甲。
537 auld Fuxzt     
adj.老的,旧的
参考例句:
  • Should auld acquaintance be forgot,and never brought to mind?怎能忘记旧日朋友,心中能不怀念?
  • The party ended up with the singing of Auld Lang Sync.宴会以《友谊地久天长》的歌声而告终。
538 galloping galloping     
adj. 飞驰的, 急性的 动词gallop的现在分词形式
参考例句:
  • The horse started galloping the moment I gave it a good dig. 我猛戳了马一下,它就奔驰起来了。
  • Japan is galloping ahead in the race to develop new technology. 日本在发展新技术的竞争中进展迅速,日新月异。
539 miserably zDtxL     
adv.痛苦地;悲惨地;糟糕地;极度地
参考例句:
  • The little girl was wailing miserably. 那小女孩难过得号啕大哭。
  • It was drizzling, and miserably cold and damp. 外面下着毛毛细雨,天气又冷又湿,令人难受。 来自《简明英汉词典》
540 exquisite zhez1     
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。
541 epoch riTzw     
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。
542 embodied 12aaccf12ed540b26a8c02d23d463865     
v.表现( embody的过去式和过去分词 );象征;包括;包含
参考例句:
  • a politician who embodied the hopes of black youth 代表黑人青年希望的政治家
  • The heroic deeds of him embodied the glorious tradition of the troops. 他的英雄事迹体现了军队的光荣传统。 来自《简明英汉词典》
543 pathos dLkx2     
n.哀婉,悲怆
参考例句:
  • The pathos of the situation brought tears to our eyes.情况令人怜悯,看得我们不禁流泪。
  • There is abundant pathos in her words.她的话里富有动人哀怜的力量。
544 groans 41bd40c1aa6a00b4445e6420ff52b6ad     
n.呻吟,叹息( groan的名词复数 );呻吟般的声音v.呻吟( groan的第三人称单数 );发牢骚;抱怨;受苦
参考例句:
  • There were loud groans when he started to sing. 他刚开始歌唱时有人发出了很大的嘘声。 来自《简明英汉词典》
  • It was a weird old house, full of creaks and groans. 这是所神秘而可怕的旧宅,到处嘎吱嘎吱作响。 来自《简明英汉词典》
545 embodies 6b48da551d6920b8da8eb01ebc400297     
v.表现( embody的第三人称单数 );象征;包括;包含
参考例句:
  • The new treaty embodies the aspirations of most nonaligned countries. 新条约体现了大多数不结盟国家的愿望。 来自《简明英汉词典》
  • This document embodies the concern of the government for the deformity. 这个文件体现了政府对残疾人的关怀。 来自《现代汉英综合大词典》
546 juxtaposition ykvy0     
n.毗邻,并置,并列
参考例句:
  • The juxtaposition of these two remarks was startling.这两句话连在一起使人听了震惊。
  • It is the result of the juxtaposition of contrasting colors.这是并列对比色的结果。
547 faculty HhkzK     
n.才能;学院,系;(学院或系的)全体教学人员
参考例句:
  • He has a great faculty for learning foreign languages.他有学习外语的天赋。
  • He has the faculty of saying the right thing at the right time.他有在恰当的时候说恰当的话的才智。
548 rustic mCQz9     
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。
549 unfamiliar uk6w4     
adj.陌生的,不熟悉的
参考例句:
  • I am unfamiliar with the place and the people here.我在这儿人地生疏。
  • The man seemed unfamiliar to me.这人很面生。
550 enjoyment opaxV     
n.乐趣;享有;享用
参考例句:
  • Your company adds to the enjoyment of our visit. 有您的陪同,我们这次访问更加愉快了。
  • After each joke the old man cackled his enjoyment.每逢讲完一个笑话,这老人就呵呵笑着表示他的高兴。
551 adorned 1e50de930eb057fcf0ac85ca485114c8     
[计]被修饰的
参考例句:
  • The walls were adorned with paintings. 墙上装饰了绘画。
  • And his coat was adorned with a flamboyant bunch of flowers. 他的外套上面装饰着一束艳丽刺目的鲜花。
552 engraving 4tyzmn     
n.版画;雕刻(作品);雕刻艺术;镌版术v.在(硬物)上雕刻(字,画等)( engrave的现在分词 );将某事物深深印在(记忆或头脑中)
参考例句:
  • He collected an old engraving of London Bridge. 他收藏了一张古老的伦敦桥版画。 来自辞典例句
  • Some writing has the precision of a steel engraving. 有的字体严谨如同钢刻。 来自辞典例句
553 implicitly 7146d52069563dd0fc9ea894b05c6fef     
adv. 含蓄地, 暗中地, 毫不保留地
参考例句:
  • Many verbs and many words of other kinds are implicitly causal. 许多动词和许多其他类词都蕴涵着因果关系。
  • I can trust Mr. Somerville implicitly, I suppose? 我想,我可以毫无保留地信任萨莫维尔先生吧?
554 bowers e5eed26a407da376085f423a33e9a85e     
n.(女子的)卧室( bower的名词复数 );船首锚;阴凉处;鞠躬的人
参考例句:
  • If Mr Bowers is right, low government-bond yields could lose their appeal and equities could rebound. 如果鲍尔斯先生的预计是对的,那么低收益的国债将会失去吸引力同时股价将会反弹。 来自互联网
555 gem Ug8xy     
n.宝石,珠宝;受爱戴的人 [同]jewel
参考例句:
  • The gem is beyond my pocket.这颗宝石我可买不起。
  • The little gem is worth two thousand dollars.这块小宝石价值两千美元。
556 exalted ztiz6f     
adj.(地位等)高的,崇高的;尊贵的,高尚的
参考例句:
  • Their loveliness and holiness in accordance with their exalted station.他们的美丽和圣洁也与他们的崇高地位相称。
  • He received respect because he was a person of exalted rank.他因为是个地位崇高的人而受到尊敬。
557 peculiarity GiWyp     
n.独特性,特色;特殊的东西;怪癖
参考例句:
  • Each country has its own peculiarity.每个国家都有自己的独特之处。
  • The peculiarity of this shop is its day and nigth service.这家商店的特点是昼夜服务。
558 virgin phPwj     
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。
559 shrouded 6b3958ee6e7b263c722c8b117143345f     
v.隐瞒( shroud的过去式和过去分词 );保密
参考例句:
  • The hills were shrouded in mist . 这些小山被笼罩在薄雾之中。
  • The towers were shrouded in mist. 城楼被蒙上薄雾。 来自《简明英汉词典》
560 dictated aa4dc65f69c81352fa034c36d66908ec     
v.大声讲或读( dictate的过去式和过去分词 );口授;支配;摆布
参考例句:
  • He dictated a letter to his secretary. 他向秘书口授信稿。
  • No person of a strong character likes to be dictated to. 没有一个个性强的人愿受人使唤。 来自《简明英汉词典》
561 intelligible rbBzT     
adj.可理解的,明白易懂的,清楚的
参考例句:
  • This report would be intelligible only to an expert in computing.只有计算机运算专家才能看懂这份报告。
  • His argument was barely intelligible.他的论点不易理解。
562 evasion 9nbxb     
n.逃避,偷漏(税)
参考例句:
  • The movie star is in prison for tax evasion.那位影星因为逃税而坐牢。
  • The act was passed as a safeguard against tax evasion.这项法案旨在防止逃税行为。
563 sane 9YZxB     
adj.心智健全的,神志清醒的,明智的,稳健的
参考例句:
  • He was sane at the time of the murder.在凶杀案发生时他的神志是清醒的。
  • He is a very sane person.他是一个很有头脑的人。
564 gems 74ab5c34f71372016f1770a5a0bf4419     
growth; economy; management; and customer satisfaction 增长
参考例句:
  • a crown studded with gems 镶有宝石的皇冠
  • The apt citations and poetic gems have adorned his speeches. 贴切的引语和珠玑般的诗句为他的演说词增添文采。
565 remains 1kMzTy     
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。
566 sketches 8d492ee1b1a5d72e6468fd0914f4a701     
n.草图( sketch的名词复数 );素描;速写;梗概
参考例句:
  • The artist is making sketches for his next painting. 画家正为他的下一幅作品画素描。
  • You have to admit that these sketches are true to life. 你得承认这些素描很逼真。 来自《简明英汉词典》
567 innocence ZbizC     
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。
568 sifting 6c53b58bc891cb3e1536d7f574e1996f     
n.筛,过滤v.筛( sift的现在分词 );筛滤;细查;详审
参考例句:
  • He lay on the beach, sifting the sand through his fingers. 他躺在沙滩上用手筛砂子玩。 来自《简明英汉词典》
  • I was sifting the cinders when she came in. 她进来时,我正在筛煤渣。 来自辞典例句
569 chaotic rUTyD     
adj.混沌的,一片混乱的,一团糟的
参考例句:
  • Things have been getting chaotic in the office recently.最近办公室的情况越来越乱了。
  • The traffic in the city was chaotic.这城市的交通糟透了。
570 extravagant M7zya     
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。
571 intemperate ibDzU     
adj.无节制的,放纵的
参考例句:
  • Many people felt threatened by Arther's forceful,sometimes intemperate style.很多人都觉得阿瑟的强硬的、有时过激的作风咄咄逼人。
  • The style was hurried,the tone intemperate.匆促的笔调,放纵的语气。
572 titanic NoJwR     
adj.巨人的,庞大的,强大的
参考例句:
  • We have been making titanic effort to achieve our purpose.我们一直在作极大的努力,以达到我们的目的。
  • The island was created by titanic powers and they are still at work today.台湾岛是由一个至今仍然在运作的巨大力量塑造出来的。
573 apocalyptic dVJzK     
adj.预示灾祸的,启示的
参考例句:
  • The air is chill and stagnant,the language apocalyptic.空气寒冷而污浊,语言则是《启示录》式的。
  • Parts of the ocean there look just absolutely apocalyptic.海洋的很多区域看上去完全像是世界末日。
574 splendors 9604948927e16d12b7c4507da39c016a     
n.华丽( splendor的名词复数 );壮丽;光辉;显赫
参考例句:
  • The sun rose presently and sent its unobstructed splendors over the land. 没多大工夫,太阳就出来了,毫无阻碍,把它的光华异彩散布在大地之上。 来自辞典例句
  • Her mortal frame could not endure the splendors of the immortal radiance. 她那世人的肉身禁不住炽热的神光。 来自辞典例句
575 chaff HUGy5     
v.取笑,嘲笑;n.谷壳
参考例句:
  • I didn't mind their chaff.我不在乎他们的玩笑。
  • Old birds are not caught with chaff.谷糠难诱老雀。
576 scattered 7jgzKF     
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。
577 winnowing afff048007ee6ee108e313476bff7439     
v.扬( winnow的现在分词 );辨别;选择;除去
参考例句:
  • The petrel came winnowing in from afar on the sea. 海燕从遥远的地方振翼飞来。 来自辞典例句
  • He is winnowing wheat now. 他现在正在簸小麦。 来自辞典例句
578 casually UwBzvw     
adv.漠不关心地,无动于衷地,不负责任地
参考例句:
  • She remarked casually that she was changing her job.她当时漫不经心地说要换工作。
  • I casually mentioned that I might be interested in working abroad.我不经意地提到我可能会对出国工作感兴趣。
579 uncertainty NlFwK     
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。
580 disciple LPvzm     
n.信徒,门徒,追随者
参考例句:
  • Your disciple failed to welcome you.你的徒弟没能迎接你。
  • He was an ardent disciple of Gandhi.他是甘地的忠实信徒。
581 accentuate 4I2yX     
v.着重,强调
参考例句:
  • She has beautiful eyes, so we should accentuate them in the makeup.她眼睛很美丽,我们在化妆时应该突出她的眼睛。
  • Mrs Obamas speeches rarely accentuate the positive.奥巴马夫人的演讲很少强调美国积极的一面。
582 depicting eaa7ce0ad4790aefd480461532dd76e4     
描绘,描画( depict的现在分词 ); 描述
参考例句:
  • a painting depicting the Virgin and Child 一幅描绘童贞马利亚和圣子耶稣的画
  • The movie depicting the battles and bloodshed is bound to strike home. 这部描写战斗和流血牺牲的影片一定会取得预期效果。
583 vaguely BfuzOy     
adv.含糊地,暖昧地
参考例句:
  • He had talked vaguely of going to work abroad.他含糊其词地说了到国外工作的事。
  • He looked vaguely before him with unseeing eyes.他迷迷糊糊的望着前面,对一切都视而不见。
584 sordid PrLy9     
adj.肮脏的,不干净的,卑鄙的,暗淡的
参考例句:
  • He depicts the sordid and vulgar sides of life exclusively.他只描写人生肮脏和庸俗的一面。
  • They lived in a sordid apartment.他们住在肮脏的公寓房子里。
585 laborers c8c6422086151d6c0ae2a95777108e3c     
n.体力劳动者,工人( laborer的名词复数 );(熟练工人的)辅助工
参考例句:
  • Laborers were trained to handle 50-ton compactors and giant cranes. 工人们接受操作五十吨压土机和巨型起重机的训练。 来自《现代英汉综合大词典》
  • Wage-labour rests exclusively on competition between the laborers. 雇佣劳动完全是建立在工人的自相竞争之上的。 来自英汉非文学 - 共产党宣言
586 virtues cd5228c842b227ac02d36dd986c5cd53     
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。
587 catered 89d616ab59cbf00e406e8778a3dcc0fc     
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。
588 momentary hj3ya     
adj.片刻的,瞬息的;短暂的
参考例句:
  • We are in momentary expectation of the arrival of you.我们无时无刻不在盼望你的到来。
  • I caught a momentary glimpse of them.我瞥了他们一眼。
589 forgeries ccf3756c474249ecf8bd23166b7aaaf1     
伪造( forgery的名词复数 ); 伪造的文件、签名等
参考例句:
  • The whole sky was filled with forgeries of the brain. 整个天空充满了头脑里臆造出来的膺品。
  • On inspection, the notes proved to be forgeries. 经过检查,那些钞票证明是伪造的。
590 subscription qH8zt     
n.预订,预订费,亲笔签名,调配法,下标(处方)
参考例句:
  • We paid a subscription of 5 pounds yearly.我们按年度缴纳5英镑的订阅费。
  • Subscription selling bloomed splendidly.订阅销售量激增。
591 lamentable A9yzi     
adj.令人惋惜的,悔恨的
参考例句:
  • This lamentable state of affairs lasted until 1947.这一令人遗憾的事态一直持续至1947年。
  • His practice of inebriation was lamentable.他的酗酒常闹得别人束手无策。
592 counterfeit 1oEz8     
vt.伪造,仿造;adj.伪造的,假冒的
参考例句:
  • It is a crime to counterfeit money.伪造货币是犯罪行为。
  • The painting looked old but was a recent counterfeit.这幅画看上去年代久远,实际是最近的一幅赝品。
593 primal bB9yA     
adj.原始的;最重要的
参考例句:
  • Jealousy is a primal emotion.嫉妒是最原始的情感。
  • Money was a primal necessity to them.对于他们,钱是主要的需要。
594 bombastic gRGy0     
adj.夸夸其谈的,言过其实的
参考例句:
  • The candidate spoke in a bombastic way of all that he would do if elected.候选人大肆吹嘘,一旦他当选将要如何如何。
  • The orator spoke in a bombastic manner.这位演说家的讲话言过其实。
595 beheld beheld     
v.看,注视( behold的过去式和过去分词 );瞧;看呀;(叙述中用于引出某人意外的出现)哎哟
参考例句:
  • His eyes had never beheld such opulence. 他从未见过这样的财富。 来自《简明英汉词典》
  • The soul beheld its features in the mirror of the passing moment. 灵魂在逝去的瞬间的镜子中看到了自己的模样。 来自英汉文学 - 红字
596 forgery TgtzU     
n.伪造的文件等,赝品,伪造(行为)
参考例句:
  • The painting was a forgery.这张画是赝品。
  • He was sent to prison for forgery.他因伪造罪而被关进监狱。
597 dedicated duHzy2     
adj.一心一意的;献身的;热诚的
参考例句:
  • He dedicated his life to the cause of education.他献身于教育事业。
  • His whole energies are dedicated to improve the design.他的全部精力都放在改进这项设计上了。
598 celebrated iwLzpz     
adj.有名的,声誉卓著的
参考例句:
  • He was soon one of the most celebrated young painters in England.不久他就成了英格兰最负盛名的年轻画家之一。
  • The celebrated violinist was mobbed by the audience.观众团团围住了这位著名的小提琴演奏家。
599 relics UkMzSr     
[pl.]n.遗物,遗迹,遗产;遗体,尸骸
参考例句:
  • The area is a treasure house of archaeological relics. 这个地区是古文物遗迹的宝库。
  • Xi'an is an ancient city full of treasures and saintly relics. 西安是一个有很多宝藏和神圣的遗物的古老城市。
600 misuse XEfxx     
n.误用,滥用;vt.误用,滥用
参考例句:
  • It disturbs me profoundly that you so misuse your talents.你如此滥用自己的才能,使我深感不安。
  • He was sacked for computer misuse.他因滥用计算机而被解雇了。
601 systematic SqMwo     
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。
602 garbled ssvzFv     
adj.(指信息)混乱的,引起误解的v.对(事实)歪曲,对(文章等)断章取义,窜改( garble的过去式和过去分词 )
参考例句:
  • He gave a garbled account of what had happened. 他对所发生事情的叙述含混不清。
  • The Coastguard needs to decipher garbled messages in a few minutes. 海岸警卫队需要在几分钟内解读这些含混不清的信息。 来自辞典例句
603 dealing NvjzWP     
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。
604 atone EeKyT     
v.赎罪,补偿
参考例句:
  • He promised to atone for his crime.他承诺要赎自己的罪。
  • Blood must atone for blood.血债要用血来还。
605 obsolete T5YzH     
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。
606 mythology I6zzV     
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。
607 rugged yXVxX     
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。
608 maiden yRpz7     
n.少女,处女;adj.未婚的,纯洁的,无经验的
参考例句:
  • The prince fell in love with a fair young maiden.王子爱上了一位年轻美丽的少女。
  • The aircraft makes its maiden flight tomorrow.这架飞机明天首航。
609 maidens 85662561d697ae675e1f32743af22a69     
处女( maiden的名词复数 ); 少女; 未婚女子; (板球运动)未得分的一轮投球
参考例句:
  • stories of knights and fair maidens 关于骑士和美女的故事
  • Transplantation is not always successful in the matter of flowers or maidens. 花儿移栽往往并不成功,少女们换了环境也是如此。 来自英汉文学 - 嘉莉妹妹
610 twilight gKizf     
n.暮光,黄昏;暮年,晚期,衰落时期
参考例句:
  • Twilight merged into darkness.夕阳的光辉融于黑暗中。
  • Twilight was sweet with the smell of lilac and freshly turned earth.薄暮充满紫丁香和新翻耕的泥土的香味。
611 phenomena 8N9xp     
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。
612 innate xbxzC     
adj.天生的,固有的,天赋的
参考例句:
  • You obviously have an innate talent for music.你显然有天生的音乐才能。
  • Correct ideas are not innate in the mind.人的正确思想不是自己头脑中固有的。
613 knight W2Hxk     
n.骑士,武士;爵士
参考例句:
  • He was made an honourary knight.他被授予荣誉爵士称号。
  • A knight rode on his richly caparisoned steed.一个骑士骑在装饰华丽的马上。
614 knights 2061bac208c7bdd2665fbf4b7067e468     
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。
615 inevitably x7axc     
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。
616 enthralls c3255cc9fb3e6d1fb665c4f4732cc107     
迷住,吸引住( enthrall的第三人称单数 ); 使感到非常愉快
参考例句:
617 lured 77df5632bf83c9c64fb09403ae21e649     
吸引,引诱(lure的过去式与过去分词形式)
参考例句:
  • The child was lured into a car but managed to escape. 那小孩被诱骗上了车,但又设法逃掉了。
  • Lured by the lust of gold,the pioneers pushed onward. 开拓者在黄金的诱惑下,继续奋力向前。
618 adventurous LKryn     
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。
619 precursors 5e19fce64ab14f5a4b5c8687640c2593     
n.先驱( precursor的名词复数 );先行者;先兆;初期形式
参考例句:
  • Phenyl (or polyphenyl) substituted epoxides serve as excellent precursors to phenyl (or diphenyl) carbenes. 某些苯代(或多苯)环氧乙烷是制取带苯环(或二苯)碳烯的极好原料。 来自辞典例句
  • Note the presence of megakaryocytes, erythroid islands, and granulocytic precursors. 可见巨核细胞,红细胞岛和粒细胞前体细胞。 来自互联网
620 predecessors b59b392832b9ce6825062c39c88d5147     
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》
621 chivalry wXAz6     
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。
622 expressive shwz4     
adj.表现的,表达…的,富于表情的
参考例句:
  • Black English can be more expressive than standard English.黑人所使用的英语可能比正式英语更有表现力。
  • He had a mobile,expressive,animated face.他有一张多变的,富于表情的,生动活泼的脸。
623 curbed a923d4d9800d8ccbc8b2319f1a1fdc2b     
v.限制,克制,抑制( curb的过去式和过去分词 )
参考例句:
  • Advertising aimed at children should be curbed. 针对儿童的广告应受到限制。 来自辞典例句
  • Inflation needs to be curbed in Russia. 俄罗斯需要抑制通货膨胀。 来自辞典例句
624 delightfully f0fe7d605b75a4c00aae2f25714e3131     
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》
625 civilized UwRzDg     
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
626 forerunner Ki0xp     
n.前身,先驱(者),预兆,祖先
参考例句:
  • She is a forerunner of the modern women's movement.她是现代妇女运动的先驱。
  • Penicillin was the forerunner of modern antibiotics.青霉素是现代抗生素的先导。
627 delineation wxrxV     
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。
628 guardian 8ekxv     
n.监护人;守卫者,保护者
参考例句:
  • The form must be signed by the child's parents or guardian. 这张表格须由孩子的家长或监护人签字。
  • The press is a guardian of the public weal. 报刊是公共福利的卫护者。
629 simultaneously 4iBz1o     
adv.同时发生地,同时进行地
参考例句:
  • The radar beam can track a number of targets almost simultaneously.雷达波几乎可以同时追着多个目标。
  • The Windows allow a computer user to execute multiple programs simultaneously.Windows允许计算机用户同时运行多个程序。
630 apparition rM3yR     
n.幽灵,神奇的现象
参考例句:
  • He saw the apparition of his dead wife.他看见了他亡妻的幽灵。
  • But the terror of this new apparition brought me to a stand.这新出现的幽灵吓得我站在那里一动也不敢动。
631 unnatural 5f2zAc     
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。
632 repentance ZCnyS     
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。
633 puritanical viYyM     
adj.极端拘谨的;道德严格的
参考例句:
  • He has a puritanical attitude towards sex.他在性问题上主张克制,反对纵欲。
  • Puritanical grandfather is very strict with his children.古板严厉的祖父对子女要求非常严格。
634 portrayal IPlxy     
n.饰演;描画
参考例句:
  • His novel is a vivid portrayal of life in a mining community.他的小说生动地描绘了矿区的生活。
  • The portrayal of the characters in the novel is lifelike.该书中的人物写得有血有肉。
635 aristocrat uvRzb     
n.贵族,有贵族气派的人,上层人物
参考例句:
  • He was the quintessential english aristocrat.他是典型的英国贵族。
  • He is an aristocrat to the very marrow of his bones.他是一个道道地地的贵族。
636 prefix 1lizVl     
n.前缀;vt.加…作为前缀;置于前面
参考例句:
  • We prefix "Mr."to a man's name.我们在男士的姓名前加“先生”。
  • In the word "unimportant ","un-" is a prefix.在单词“unimportant”中“un”是前缀。
637 questionable oScxK     
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。
638 partially yL7xm     
adv.部分地,从某些方面讲
参考例句:
  • The door was partially concealed by the drapes.门有一部分被门帘遮住了。
  • The police managed to restore calm and the curfew was partially lifted.警方设法恢复了平静,宵禁部分解除。
639 radical hA8zu     
n.激进份子,原子团,根号;adj.根本的,激进的,彻底的
参考例句:
  • The patient got a radical cure in the hospital.病人在医院得到了根治。
  • She is radical in her demands.她的要求十分偏激。
640 possessed xuyyQ     
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。
641 sincerity zyZwY     
n.真诚,诚意;真实
参考例句:
  • His sincerity added much more authority to the story.他的真诚更增加了故事的说服力。
  • He tried hard to satisfy me of his sincerity.他竭力让我了解他的诚意。
642 picturesque qlSzeJ     
adj.美丽如画的,(语言)生动的,绘声绘色的
参考例句:
  • You can see the picturesque shores beside the river.在河边你可以看到景色如画的两岸。
  • That was a picturesque phrase.那是一个形象化的说法。
643 extraordinarily Vlwxw     
adv.格外地;极端地
参考例句:
  • She is an extraordinarily beautiful girl.她是个美丽非凡的姑娘。
  • The sea was extraordinarily calm that morning.那天清晨,大海出奇地宁静。
644 plausible hBCyy     
adj.似真实的,似乎有理的,似乎可信的
参考例句:
  • His story sounded plausible.他说的那番话似乎是真实的。
  • Her story sounded perfectly plausible.她的说辞听起来言之有理。
645 thereby Sokwv     
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。
646 dissenting kuhz4F     
adj.不同意的
参考例句:
  • He can't tolerate dissenting views. 他不能容纳不同意见。
  • A dissenting opinion came from the aunt . 姑妈却提出不赞同的意见。
647 ferociously e84ae4b9f07eeb9fbd44e3c2c7b272c5     
野蛮地,残忍地
参考例句:
  • The buck shook his antlers ferociously. 那雄鹿猛烈地摇动他的鹿角。
  • At intervals, he gritted his teeth ferociously. 他不时狠狠的轧平。
648 literally 28Wzv     
adv.照字面意义,逐字地;确实
参考例句:
  • He translated the passage literally.他逐字逐句地翻译这段文字。
  • Sometimes she would not sit down till she was literally faint.有时候,她不走到真正要昏厥了,决不肯坐下来。
649 pillory J2xze     
n.嘲弄;v.使受公众嘲笑;将…示众
参考例句:
  • A man has been forced to resign as a result of being pilloried by some of the press.一人因为受到一些媒体的抨击已被迫辞职。
  • He was pilloried,but she escaped without blemish.他受到公众的批评,她却名声未损地得以逃脱。
650 imprisoned bc7d0bcdd0951055b819cfd008ef0d8d     
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。
651 hieroglyphic 5dKxO     
n.象形文字
参考例句:
  • For centuries hieroglyphic word pictures painted on Egyptian ruins were a mystery.几世纪以来,刻划在埃及废墟中的象形文字一直是个谜。
  • Dongba is an ancient hieroglyphic language.东巴文是中国一种古老的象形文字。
652 contrived ivBzmO     
adj.不自然的,做作的;虚构的
参考例句:
  • There was nothing contrived or calculated about what he said.他说的话里没有任何蓄意捏造的成分。
  • The plot seems contrived.情节看起来不真实。
653 ridiculing 76c0d6ddeaff255247ea52784de48ab4     
v.嘲笑,嘲弄,奚落( ridicule的现在分词 )
参考例句:
  • Proxmire has made himself quite a reputation out of ridiculing government expenditure he disagrees with. 普罗克斯迈尔对于他不同意花的政府开支总要取笑一番,他因此而名声大振。 来自辞典例句
  • The demonstrators put on skits ridiculing the aggressors. 游行的人上演了活报剧来讽刺侵略者。 来自互联网
654 prosecutors a638e6811c029cb82f180298861e21e9     
检举人( prosecutor的名词复数 ); 告发人; 起诉人; 公诉人
参考例句:
  • In some places,public prosecutors are elected rather than appointed. 在有些地方,检察官是经选举而非任命产生的。 来自口语例句
  • You've been summoned to the Prosecutors' Office, 2 days later. 你在两天以后被宣到了检察官的办公室。
655 advertising 1zjzi3     
n.广告业;广告活动 a.广告的;广告业务的
参考例句:
  • Can you give me any advice on getting into advertising? 你能指点我如何涉足广告业吗?
  • The advertising campaign is aimed primarily at young people. 这个广告宣传运动主要是针对年轻人的。
656 persecution PAnyA     
n. 迫害,烦扰
参考例句:
  • He had fled from France at the time of the persecution. 他在大迫害时期逃离了法国。
  • Their persecution only serves to arouse the opposition of the people. 他们的迫害只激起人民对他们的反抗。
657 rogue qCfzo     
n.流氓;v.游手好闲
参考例句:
  • The little rogue had his grandpa's glasses on.这淘气鬼带上了他祖父的眼镜。
  • They defined him as a rogue.他们确定他为骗子。
658 rogues dacf8618aed467521e2383308f5bb4d9     
n.流氓( rogue的名词复数 );无赖;调皮捣蛋的人;离群的野兽
参考例句:
  • 'I'll show these rogues that I'm an honest woman,'said my mother. “我要让那些恶棍知道,我是个诚实的女人。” 来自英汉文学 - 金银岛
  • The rogues looked at each other, but swallowed the home-thrust in silence. 那些恶棍面面相觑,但只好默默咽下这正中要害的话。 来自英汉文学 - 金银岛
659 villains ffdac080b5dbc5c53d28520b93dbf399     
n.恶棍( villain的名词复数 );罪犯;(小说、戏剧等中的)反面人物;淘气鬼
参考例句:
  • The impression of villains was inescapable. 留下恶棍的印象是不可避免的。 来自《简明英汉词典》
  • Some villains robbed the widow of the savings. 有几个歹徒将寡妇的积蓄劫走了。 来自《现代英汉综合大词典》
660 marooned 165d273e31e6a1629ed42eefc9fe75ae     
adj.被围困的;孤立无援的;无法脱身的
参考例句:
  • During the storm we were marooned in a cabin miles from town. 在风暴中我们被围困在离城数英里的小屋内。 来自《现代英汉综合大词典》
  • Five couples were marooned in their caravans when the River Avon broke its banks. 埃文河决堤的时候,有5对夫妇被困在了他们的房车里。 来自辞典例句
661 amazement 7zlzBK     
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。
662 cargo 6TcyG     
n.(一只船或一架飞机运载的)货物
参考例句:
  • The ship has a cargo of about 200 ton.这条船大约有200吨的货物。
  • A lot of people discharged the cargo from a ship.许多人从船上卸下货物。
663 vessel 4L1zi     
n.船舶;容器,器皿;管,导管,血管
参考例句:
  • The vessel is fully loaded with cargo for Shanghai.这艘船满载货物驶往上海。
  • You should put the water into a vessel.你应该把水装入容器中。
664 defense AxbxB     
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。
665 foes 4bc278ea3ab43d15b718ac742dc96914     
敌人,仇敌( foe的名词复数 )
参考例句:
  • They steadily pushed their foes before them. 他们不停地追击敌人。
  • She had fought many battles, vanquished many foes. 她身经百战,挫败过很多对手。
666 agitation TN0zi     
n.搅动;搅拌;鼓动,煽动
参考例句:
  • Small shopkeepers carried on a long agitation against the big department stores.小店主们长期以来一直在煽动人们反对大型百货商店。
  • These materials require constant agitation to keep them in suspension.这些药剂要经常搅动以保持悬浮状态。
667 feverish gzsye     
adj.发烧的,狂热的,兴奋的
参考例句:
  • He is too feverish to rest.他兴奋得安静不下来。
  • They worked with feverish haste to finish the job.为了完成此事他们以狂热的速度工作着。
668 fortitude offzz     
n.坚忍不拔;刚毅
参考例句:
  • His dauntless fortitude makes him absolutely fearless.他不屈不挠的坚韧让他绝无恐惧。
  • He bore the pain with great fortitude.他以极大的毅力忍受了痛苦。
669 treatise rpWyx     
n.专著;(专题)论文
参考例句:
  • The doctor wrote a treatise on alcoholism.那位医生写了一篇关于酗酒问题的论文。
  • This is not a treatise on statistical theory.这不是一篇有关统计理论的论文。
670 sentimental dDuzS     
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。
671 tribulations 48036182395310e9f044772a7d26287d     
n.苦难( tribulation的名词复数 );艰难;苦难的缘由;痛苦
参考例句:
  • the tribulations of modern life 现代生活的苦恼
  • The film is about the trials and tribulations of adolescence. 这部电影讲述了青春期的麻烦和苦恼。 来自《简明英汉词典》
672 grandiloquent ceWz8     
adj.夸张的
参考例句:
  • He preferred,in his grandiloquent way,to call a spade a spade.他喜欢夸夸其谈地谈出事实的真相来。
  • He was a performer who loved making grandiloquent gesture.他是一个喜欢打夸张手势的演员。
673 scruples 14d2b6347f5953bad0a0c5eebf78068a     
n.良心上的不安( scruple的名词复数 );顾虑,顾忌v.感到于心不安,有顾忌( scruple的第三人称单数 )
参考例句:
  • I overcame my moral scruples. 我抛开了道德方面的顾虑。
  • I'm not ashamed of my scruples about your family. They were natural. 我并未因为对你家人的顾虑而感到羞耻。这种感觉是自然而然的。 来自疯狂英语突破英语语调
674 humiliation Jd3zW     
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。
675 illustrates a03402300df9f3e3716d9eb11aae5782     
给…加插图( illustrate的第三人称单数 ); 说明; 表明; (用示例、图画等)说明
参考例句:
  • This historical novel illustrates the breaking up of feudal society in microcosm. 这部历史小说是走向崩溃的封建社会的缩影。
  • Alfred Adler, a famous doctor, had an experience which illustrates this. 阿尔弗莱德 - 阿德勒是一位著名的医生,他有过可以说明这点的经历。 来自中级百科部分
676 antiquated bzLzTH     
adj.陈旧的,过时的
参考例句:
  • Many factories are so antiquated they are not worth saving.很多工厂过于陈旧落后,已不值得挽救。
  • A train of antiquated coaches was waiting for us at the siding.一列陈旧的火车在侧线上等着我们。
677 precarious Lu5yV     
adj.不安定的,靠不住的;根据不足的
参考例句:
  • Our financial situation had become precarious.我们的财务状况已变得不稳定了。
  • He earned a precarious living as an artist.作为一个艺术家,他过得是朝不保夕的生活。
678 farces 91cc88dd69b5bb3e29c8688e007e560e     
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
679 extravagantly fcd90b89353afbdf23010caed26441f0     
adv.挥霍无度地
参考例句:
  • The Monroes continued to entertain extravagantly. 门罗一家继续大宴宾客。 来自辞典例句
  • New Grange is one of the most extravagantly decorated prehistoric tombs. 新格兰奇是装饰最豪华的史前陵墓之一。 来自辞典例句
680 magistrate e8vzN     
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。
681 cemetery ur9z7     
n.坟墓,墓地,坟场
参考例句:
  • He was buried in the cemetery.他被葬在公墓。
  • His remains were interred in the cemetery.他的遗体葬在墓地。
682 generosity Jf8zS     
n.大度,慷慨,慷慨的行为
参考例句:
  • We should match their generosity with our own.我们应该像他们一样慷慨大方。
  • We adore them for their generosity.我们钦佩他们的慷慨。
683 minces d82a2cc724357482428f18fea300b5c8     
v.切碎( mince的第三人称单数 );剁碎;绞碎;用绞肉机绞(食物,尤指肉)
参考例句:
684 woes 887656d87afcd3df018215107a0daaab     
困境( woe的名词复数 ); 悲伤; 我好苦哇; 某人就要倒霉
参考例句:
  • Thanks for listening to my woes. 谢谢您听我诉说不幸的遭遇。
  • She has cried the blues about its financial woes. 对于经济的困难她叫苦不迭。
685 hilarious xdhz3     
adj.充满笑声的,欢闹的;[反]depressed
参考例句:
  • The party got quite hilarious after they brought more wine.在他们又拿来更多的酒之后,派对变得更加热闹起来。
  • We stop laughing because the show was so hilarious.我们笑个不停,因为那个节目太搞笑了。
686 follies e0e754f59d4df445818b863ea1aa3eba     
罪恶,时事讽刺剧; 愚蠢,蠢笨,愚蠢的行为、思想或做法( folly的名词复数 )
参考例句:
  • He has given up youthful follies. 他不再做年轻人的荒唐事了。
  • The writings of Swift mocked the follies of his age. 斯威夫特的作品嘲弄了他那个时代的愚人。
687 virile JUrzR     
adj.男性的;有男性生殖力的;有男子气概的;强有力的
参考例句:
  • She loved the virile young swimmer.她爱上了那个有男子气概的年轻游泳运动员。
  • He wanted his sons to become strong,virile,and athletic like himself.他希望他的儿子们能长得像他一样强壮、阳刚而又健美。
688 detests 37b235c8289f2557252c2fb26768fa22     
v.憎恶,嫌恶,痛恨( detest的第三人称单数 )
参考例句:
  • My brother detests having to get up early. 我兄弟极讨厌早起,又不得不早起。 来自辞典例句
  • The LORD detests differing weights, and dishonest scales do not please him. 两样的法码,为耶和华所憎恶。诡诈的天平,也为不善。 来自互联网
689 frailty 468ym     
n.脆弱;意志薄弱
参考例句:
  • Despite increasing physical frailty,he continued to write stories.尽管身体越来越虛弱,他仍然继续写小说。
  • He paused and suddenly all the frailty and fatigue showed.他顿住了,虚弱与疲惫一下子显露出来。
690 concur CnXyH     
v.同意,意见一致,互助,同时发生
参考例句:
  • Wealth and happiness do not always concur.财富与幸福并非总是并存的。
  • I concur with the speaker in condemning what has been done.我同意发言者对所做的事加以谴责。
691 Founder wigxF     
n.创始者,缔造者
参考例句:
  • He was extolled as the founder of their Florentine school.他被称颂为佛罗伦萨画派的鼻祖。
  • According to the old tradition,Romulus was the founder of Rome.按照古老的传说,罗穆卢斯是古罗马的建国者。
692 peculiarities 84444218acb57e9321fbad3dc6b368be     
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。
693 pickle mSszf     
n.腌汁,泡菜;v.腌,泡
参考例句:
  • Mother used to pickle onions.妈妈过去常腌制洋葱。
  • Meat can be preserved in pickle.肉可以保存在卤水里。
694 bowling cxjzeN     
n.保龄球运动
参考例句:
  • Bowling is a popular sport with young and old.保龄球是老少都爱的运动。
  • Which sport do you 1ike most,golf or bowling?你最喜欢什么运动,高尔夫还是保龄球?
695 portraying e079474ea9239695e7dc3dd2bd0e7067     
v.画像( portray的现在分词 );描述;描绘;描画
参考例句:
  • The artist has succeeded in portraying my father to the life. 那位画家把我的父亲画得惟妙惟肖。 来自《简明英汉词典》
  • Ding Ling was good at portraying figures through careful and refined description of human psychology. 《莎菲女士的日记》是丁玲的成名作,曾引起强烈的社会反响。 来自汉英文学 - 中国现代小说
696 eccentricities 9d4f841e5aa6297cdc01f631723077d9     
n.古怪行为( eccentricity的名词复数 );反常;怪癖
参考例句:
  • My wife has many eccentricities. 我妻子有很多怪癖。 来自《简明英汉词典》
  • His eccentricities had earned for him the nickname"The Madman". 他的怪癖已使他得到'疯子'的绰号。 来自辞典例句
697 antiquity SNuzc     
n.古老;高龄;古物,古迹
参考例句:
  • The museum contains the remains of Chinese antiquity.博物馆藏有中国古代的遗物。
  • There are many legends about the heroes of antiquity.有许多关于古代英雄的传说。
698 vagaries 594130203d5d42a756196aa8975299ad     
n.奇想( vagary的名词复数 );异想天开;异常行为;难以预测的情况
参考例句:
  • The vagaries of fortune are indeed curious.\" 命运的变化莫测真是不可思议。” 来自英汉文学 - 嘉莉妹妹
  • The vagaries of inclement weather conditions are avoided to a certain extent. 可以在一定程度上避免变化莫测的恶劣气候影响。 来自辞典例句
699 sneer YFdzu     
v.轻蔑;嘲笑;n.嘲笑,讥讽的言语
参考例句:
  • He said with a sneer.他的话中带有嘲笑之意。
  • You may sneer,but a lot of people like this kind of music.你可以嗤之以鼻,但很多人喜欢这种音乐。
700 recording UktzJj     
n.录音,记录
参考例句:
  • How long will the recording of the song take?录下这首歌得花多少时间?
  • I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。
701 carving 5wezxw     
n.雕刻品,雕花
参考例句:
  • All the furniture in the room had much carving.房间里所有的家具上都有许多雕刻。
  • He acquired the craft of wood carving in his native town.他在老家学会了木雕手艺。
702 adoption UK7yu     
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。
703 bribery Lxdz7Z     
n.贿络行为,行贿,受贿
参考例句:
  • FBI found out that the senator committed bribery.美国联邦调查局查明这个参议员有受贿行为。
  • He was charged with bribery.他被指控受贿。
704 corruption TzCxn     
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。
705 supplanting 55014765c74fea793d89472381bf1a0e     
把…排挤掉,取代( supplant的现在分词 )
参考例句:
706 supplementary 0r6ws     
adj.补充的,附加的
参考例句:
  • There is a supplementary water supply in case the rain supply fails.万一主水源断了,我们另外有供水的地方。
  • A supplementary volume has been published containing the index.附有索引的增补卷已经出版。
707 bibliography NNzzM     
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。
708 treasury 7GeyP     
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。
709 abridged 47f00a3da9b4a6df1c48709a41fd43e5     
削减的,删节的
参考例句:
  • The rights of citizens must not be abridged without proper cause. 没有正当理由,不能擅自剥夺公民的权利。
  • The play was abridged for TV. 剧本经过节略,以拍摄电视片。
710 belles 35634a17dac7d7e83a3c14948372f50e     
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
711 journalism kpZzu8     
n.新闻工作,报业
参考例句:
  • He's a teacher but he does some journalism on the side.他是教师,可还兼职做一些新闻工作。
  • He had an aptitude for journalism.他有从事新闻工作的才能。
712 mermaid pCbxH     
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。
713 worthies 5d51be96060a6f2400cd46c3e32cd8ab     
应得某事物( worthy的名词复数 ); 值得做某事; 可尊敬的; 有(某人或事物)的典型特征
参考例句:
  • The world is peopled with worthies, and workers, useful and clever. 世界上住着高尚的人,劳动的人,有用又聪明。
  • The former worthies have left us a rich cultural heritage. 前贤给我们留下了丰富的文化遗产。
714 mead BotzAK     
n.蜂蜜酒
参考例句:
  • He gave me a cup of mead.他给我倒了杯蜂蜜酒。
  • He drank some mead at supper.晚饭时他喝了一些蜂蜜酒。
715 makers 22a4efff03ac42c1785d09a48313d352     
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》
716 garner jhZxS     
v.收藏;取得
参考例句:
  • He has garnered extensive support for his proposals.他的提议得到了广泛的支持。
  • Squirrels garner nuts for the winter.松鼠为过冬储存松果。
717 chambers c053984cd45eab1984d2c4776373c4fe     
n.房间( chamber的名词复数 );(议会的)议院;卧室;会议厅
参考例句:
  • The body will be removed into one of the cold storage chambers. 尸体将被移到一个冷冻间里。 来自《简明英汉词典》
  • Mr Chambers's readable book concentrates on the middle passage: the time Ransome spent in Russia. Chambers先生的这本值得一看的书重点在中间:Ransome在俄国的那几年。 来自互联网


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