CHAPTER X

THE AGE OF ROMANTICISM (1800-1850)

THE SECOND CREATIVE PERIOD OF ENGLISH LITERATURE

The first half of the nineteenth century records the triumph of Romanticism in literature and of democracy in government; and the two movements are so closely associated, in so many nations and in so many periods of history, that one must wonder if there be not some relation of cause and effect between them. Just as we understand the tremendous energizing¹ influence of Puritanism in the matter of English liberty by remembering that the common people had begun to read, and that their book was the Bible, so we may understand this age of popular government by remembering that the chief subject of romantic literature was the essential nobleness of common men and the value of the individual. As we read now that brief portion of history which lies between the Declaration of Independence (1776) and the English Reform Bill of 1832, we are in the presence of such mighty³ political upheavals⁵ that "the age of revolution" is the only name by which we can adequately characterize it. Its great historic movements become intelligible⁷ only when we read what was written in this period; for the French Revolution and the American commonwealth⁸, as well as the establishment of a true democracy in England by the Reform Bill, were the inevitable⁹ results of ideas which literature had spread rapidly through the civilized¹⁰ world. Liberty is fundamentally an ideal; and that ideal--beautiful, inspiring, compelling, as a loved banner in the wind--was kept steadily¹² before men's minds by a multitude of books and pamphlets as far apart as Burns's Poems and Thomas Paine's Rights of Man,--all read eagerly by the common people, all proclaiming the dignity of common life, and all uttering the same passionate¹⁴ cry against every form of class or caste oppression.

First the dream, the ideal in some human soul; then the written word which proclaims it, and impresses other minds with its truth and beauty; then the united and determined¹⁵ effort of men to make the dream a reality,--that seems to be a fair estimate of the part that literature plays, even in our political progress.

Historical Summary. The period we are considering begins in the latter half of the reign¹⁶ of George III and ends with the accession of Victoria in 1837. When on a foggy morning in November, 1783, King George entered the House of Lords and in a trembling voice recognized the independence of the United States of America, he unconsciously proclaimed the triumph of that free government by free men which had been the ideal of English literature for more than a thousand years; though it was not till 1832, when the Reform Bill became the law of the land, that England herself learned the lesson taught her by America, and became the democracy of which her writers had always dreamed.

The French RevolutionThe half century between these two events is one of great turmoil¹⁷, yet of steady advance in every department of English life. The storm center of the political unrest was the French Revolution, that frightful¹⁸ uprising which proclaimed the natural rights of man and the abolition¹⁹ of class distinctions. Its effect on the whole civilized world is beyond computation. Patriotic²⁰ clubs and societies multiplied in England, all asserting the doctrine²² of Liberty, Equality, Fraternity, the watchwords of the Revolution. Young England, led by Pitt the younger, hailed the new French republic and offered it friendship; old England, which pardons no revolutions but her own, looked with horror on the turmoil in France and, misled by Burke and the nobles of the realm, forced the two nations into war. Even Pitt saw a blessing²⁴ in this at first; because the sudden zeal²⁵ for fighting a foreign nation--which by some horrible perversion²⁶ is generally called patriotism--might turn men's thoughts from their own to their neighbors' affairs, and so prevent a threatened revolution at home.

Economic ConditionsThe causes of this threatened revolution were not political but economic. By her invention in steel and machinery²⁷, and by her monopoly of the carrying trade, England had become the workshop of the world. Her wealth had increased beyond her wildest dreams; but the unequal distribution of that wealth was a spectacle to make angels weep. The invention of machinery at first threw thousands of skilled hand workers out of employment; in order to protect a few agriculturists, heavy duties were imposed on corn and wheat, and bread rose to famine prices just when laboring²⁸ men had the least money to pay for it. There followed a curious spectacle. While England increased in wealth, and spent vast sums to support her army and subsidize her allies in Europe, and while nobles, landowners, manufacturers, and merchants lived in increasing luxury, a multitude of skilled laborers³⁰ were clamoring for work. Fathers sent their wives and little children into the mines and factories, where sixteen hours' labor²⁹ would hardly pay for the daily bread; and in every large city were riotous³¹ mobs made up chiefly of hungry men and women. It was this unbearable³² economic condition, and not any political theory, as Burke supposed, which occasioned the danger of another English revolution.

It is only when we remember these conditions that we can understand two books, Adam Smith's Wealth of Nations and Thomas Paine's Rights of Man, which can hardly be considered as literature, but which exercised an enormous influence in England. Smith was a Scottish thinker, who wrote to uphold the doctrine that labor is the only source of a nation's wealth, and that any attempt to force labor into unnatural³³ channels, or to prevent it by protective duties from freely obtaining the raw materials for its industry, is unjust and destructive. Paine was a curious combination of Jekyll and Hyde, shallow and untrustworthy personally, but with a passionate devotion to popular liberty. His Rights of Man published in London in 1791, was like one of Burns's lyric³⁵ outcries against institutions which oppressed humanity. Coming so soon after the destruction of the Bastille, it added fuel to the flames kindled³⁷ in England by the French Revolution. The author was driven out of the country, on the curious ground that he endangered the English constitution, but not until his book had gained a wide sale and influence.

ReformsAll these dangers, real and imaginary, passed away when England turned from the affairs of France to remedy her own economic conditions. The long Continental³⁸ war came to an end with Napoleon's overthrow³⁹ at Waterloo, in 1815; and England, having gained enormously in prestige abroad, now turned to the work of reform at home. The destruction of the African slave trade; the mitigation of horribly unjust laws, which included poor debtors⁴⁰ and petty criminals in the same class; the prevention of child labor; the freedom of the press; the extension of manhood suffrage⁴²; the abolition of restrictions⁴³ against Catholics in Parliament; the establishment of hundreds of popular schools, under the leadership of Andrew Bell and Joseph Lancaster,--these are but a few of the reforms which mark the progress of civilization in a single half century. When England, in 1833, proclaimed the emancipation⁴⁴ of all slaves in all her colonies, she unconsciously proclaimed her final emancipation from barbarism.

Romantic EnthusiasmLiterary Characteristics of the Age. It is intensely interesting to note how literature at first reflected the political turmoil of the age; and then, when the turmoil was over and England began her mighty work of reform, how literature suddenly developed a new creative spirit, which shows itself in the poetry of Wordsworth, Coleridge, Byron, Shelley, Keats, and in the prose of Scott, Jane Austen, Lamb, and De Quincey,--a wonderful group of writers, whose patriotic enthusiasm suggests the Elizabethan days, and whose genius has caused their age to be known as the second creative period of our literature. Thus in the early days, when old institutions seemed crumbling⁴⁶ with the Bastille, Coleridge and Southey formed their youthful scheme of a "Pantisocracy on the banks of the Susquehanna,"--an ideal commonwealth, in which the principles of More's Utopia should be put in practice. Even Wordsworth, fired with political enthusiasm, could write,

    Bliss⁴⁷ was it in that dawn to be alive,
    But to be young was very heaven.

The essence of Romanticism was, it must be remembered, that literature must reflect all that is spontaneous and unaffected in nature and in man, and be free to follow its own fancy in its own way. We have already noted⁴⁸ this characteristic in the work of the Elizabethan dramatists, who followed their own genius in opposition⁴⁹ to all the laws of the critics. In Coleridge we see this independence expressed in "Kubla Khan" and "The Ancient Mariner⁵⁰," two dream pictures, one of the populous⁵¹ Orient, the other of the lonely sea. In Wordsworth this literary independence led him inward to the heart of common things. Following his own instinct, as Shakespeare does, he too

    Finds tongues in trees, books in the running brooks⁵²,
    Sermons in stones, and good in everything.

And so, more than any other writer of the age, he invests the common life of nature, and the souls of common men and women, with glorious significance. These two poets, Coleridge and Wordsworth, best represent the romantic genius of the age in which they lived, though Scott had a greater literary reputation, and Byron and Shelley had larger audiences.

An Age of PoetryThe second characteristic of this age is that it is emphatically an age of poetry. The previous century, with its practical outlook on life, was largely one of prose; but now, as in the Elizabethan Age, the young enthusiasts⁵⁴ turned as naturally to poetry as a happy man to singing. The glory of the age is in the poetry of Scott, Wordsworth, Coleridge, Byron, Shelley, Keats, Moore, and Southey. Of its prose works, those of Scott alone have attained⁵⁵ a very wide reading, though the essays of Charles Lamb and the novels of Jane Austen have slowly won for their authors a secure place in the history of our literature. Coleridge and Southey (who with Wordsworth form the trio of so-called Lake Poets) wrote far more prose than poetry; and Southey's prose is much better than his verse. It was characteristic of the spirit of this age, so different from our own, that Southey could say that, in order to earn money, he wrote in verse "what would otherwise have been better written in prose."

Women as NovelistsIt was during this period that woman assumed, for the first time, an important place in our literature. Probably the chief reason for this interesting phenomenon lies in the fact that woman was for the first time given some slight chance of education, of entering into the intellectual life of the race; and as is always the case when woman is given anything like a fair opportunity she responded magnificently. A secondary reason may be found in the nature of the age itself, which was intensely emotional. The French Revolution stirred all Europe to its depths, and during the following half century every great movement in literature, as in politics and religion, was characterized by strong emotion; which is all the more noticeable by contrast with the cold, formal, satiric⁵⁶ spirit of the early eighteenth century. As woman is naturally more emotional than man, it may well be that the spirit of this emotional age attracted her, and gave her the opportunity to express herself in literature.

As all strong emotions tend to extremes, the age produced a new type of novel which seems rather hysterical⁵⁷ now, but which in its own day delighted multitudes of readers whose nerves were somewhat excited, and who reveled in "bogey⁵⁸" stories of supernatural terror. Mrs. Anne Radcliffe (1764-1823) was one of the most successful writers of this school of exaggerated romance. Her novels, with their azure-eyed heroines, haunted castles, trapdoors, bandits, abductions, rescues in the nick of time, and a general medley⁵⁹ of overwrought joys and horrors,[219] were immensely popular, not only with the crowd of novel readers, but also with men of unquestioned literary genius, like Scott and Byron.

In marked contrast to these extravagant⁶⁰ stories is the enduring work of Jane Austen, with her charming descriptions of everyday life, and of Maria Edgeworth, whose wonderful pictures of Irish life suggested to Walter Scott the idea of writing his Scottish romances. Two other women who attained a more or less lasting⁶¹ fame were Hannah More, poet, dramatist, and novelist, and Jane Porter, whose Scottish Chiefs and Thaddeus of Warsaw are still in demand in our libraries. Beside these were Fanny Burney (Madame D'Arblay) and several other writers whose works, in the early part of the nineteenth century, raised woman to the high place in literature which she has ever since maintained.

The Modern MagazinesIn this age literary criticism became firmly established by the appearance of such magazines as the Edinburgh Review (18O2), The Quarterly Review (1808), Blackwood's Magazine (1817), the Westminster Review (1824), The Spectator (1828), The Athen?um (1828), and Fraser's Magazine (1830). These magazines, edited by such men as Francis Jeffrey, John Wilson (who is known to us as Christopher North), and John Gibson Lockhart, who gave us the Life of Scott, exercised an immense influence on all subsequent literature. At first their criticisms were largely destructive, as when Jeffrey hammered Scott, Wordsworth, and Byron most unmercifully; and Lockhart could find no good in either Keats or Tennyson; but with added wisdom, criticism assumed its true function of construction. And when these magazines began to seek and to publish the works of unknown writers, like Hazlitt, Lamb, and Leigh Hunt, they discovered the chief mission of the modern magazine, which is to give every writer of ability the opportunity to make his work known to the world.

I. THE POETS OF ROMANTICISM

WILLIAM WORDSWORTH (1770-1850)

Illustration: WILLIAM WORDSWORTH
WILLIAM WORDSWORTH

It was in 1797 that the new romantic movement in our literature assumed definite form. Wordsworth and Coleridge retired⁶⁴ to the Quantock Hills, Somerset, and there formed the deliberate purpose to make literature "adapted to interest mankind permanently," which, they declared, classic poetry could never do. Helping⁶⁵ the two poets was Wordsworth's sister Dorothy, with a woman's love for flowers and all beautiful things; and a woman's divine sympathy for human life even in its lowliest forms. Though a silent partner, she furnished perhaps the largest share of the inspiration which resulted in the famous Lyrical Ballads⁶⁶ of 1798. In their partnership⁶⁸ Coleridge was to take up the "supernatural, or at least romantic"; while Wordsworth was "to give the charm of novelty to things of everyday ... by awakening⁷⁰ the mind's attention from the lethargy of custom and directing it to the loveliness and the wonders of the world before us." The whole spirit of their work is reflected in two poems of this remarkable⁷² little volume, "The Rime⁷³ of the Ancient Mariner," which is Coleridge's masterpiece, and "Lines Written a Few Miles above Tintern Abbey," which expresses Wordsworth's poetical⁷⁴ creed⁷⁶, and which is one of the noblest and most significant of our poems. That the Lyrical Ballads attracted no attention,[220] and was practically ignored by a public that would soon go into raptures⁷⁷ over Byron's Childe Harold and Don Juan, is of small consequence. Many men will hurry a mile to see skyrockets, who never notice Orion and the Pleiades from their own doorstep. Had Wordsworth and Coleridge written only this one little book, they would still be among the representative writers of an age that proclaimed the final triumph of Romanticism.

Life of Wordsworth. To understand the life of him who, in Tennyson's words, "uttered nothing base," it is well to read first The Prelude⁷⁸, which records the impressions made upon Wordsworth's mind from his earliest recollection until his full manhood, in 1805, when the poem was completed.[221] Outwardly his long and uneventful life divides itself naturally into four periods: (1) his childhood and youth, in the Cumberland Hills, from 1770 to 1787; (2) a period of uncertainty⁷⁹, of storm and stress, including his university life at Cambridge, his travels abroad, and his revolutionary experience, from 1787 to 1797; (3) a short but significant period of finding himself and his work, from 1797 to 1799; (4) a long period of retirement⁸⁰ in the northern lake region, where he was born, and where for a full half century he lived so close to nature that her influence is reflected in all his poetry. When one has outlined these four periods he has told almost all that can be told of a life which is marked, not by events, but largely by spiritual experiences.

Wordsworth was born in 1770 at Cockermouth, Cumberland, where the Derwent,

                Fairest of all rivers, loved
    To blend his murmurs⁸¹ with my nurse's song,
    And from his alder⁸² shades and rocky falls,
    And from his fords and shallows, sent a voice
    That flowed along my dreams.

It is almost a shock to one who knows Wordsworth only by his calm and noble poetry to read that he was of a moody⁸³ and violent temper, and that his mother despaired of him alone among her five children. She died when he was but eight years old, but not till she had exerted an influence which lasted all his life, so that he could remember her as "the heart of all our learnings and our loves." The father died some six years later, and the orphan⁸⁵ was taken in charge by relatives, who sent him to school at Hawkshead, in the beautiful lake region. Here, apparently⁸⁶, the unroofed school of nature attracted him more than the discipline of the classics, and he learned more eagerly from the flowers and hills and stars than from his books; but one must read Wordsworth's own record, in The Prelude, to appreciate this. Three things in this poem must impress even the casual reader: first, Wordsworth loves to be alone, and is never lonely, with nature; second, like every other child who spends much time alone in the woods and fields, he feels the presence of some living spirit, real though unseen, and companionable though silent; third, his impressions are exactly like our own, and delightfully⁸⁷ familiar. When he tells of the long summer day spent in swimming, basking⁸⁹ in the sun, and questing over the hills; or of the winter night when, on his skates, he chased the reflection of a star in the black ice; or of his exploring the lake in a boat, and getting suddenly frightened when the world grew big and strange,--in all this he is simply recalling a multitude of our own vague, happy memories of childhood. He goes out into the woods at night to tend his woodcock snares⁹⁰; he runs across another boy's snares, follows them, finds a woodcock caught, takes it, hurries away through the night. And then,

    I heard among the solitary⁹¹ hills
    Low breathings coming after me, and sounds
    Of undistinguishable motion.

That is like a mental photograph. Any boy who has come home through the woods at night will recognize it instantly. Again he tells as of going bird's-nesting on the cliffs:

                    Oh, when I have hung
    Above the raven's nest, by knots of grass
    And half-inch fissures⁹² in the slippery rock
    But ill-sustained, and almost (so it seemed)
    Suspended by the blast that blew amain,
    Shouldering the naked crag,--oh, at that time,
    While on the perilous⁹³ ridge⁴⁵ I hung alone,
    With what strange utterance⁹⁴ did the loud dry wind
    Blow through my ear! The sky seemed not a sky
    Of earth,--and with what motion moved the clouds!

No man can read such records without finding his own boyhood again, and his own abounding⁹⁵ joy of life, in the poet's early impressions.

The second period of Wordsworth's life begins with his university course at Cambridge, in 1787. In the third book of The Prelude we find a dispassionate account of student life, with its trivial occupations, its pleasures and general aimlessness. Wordsworth proved to be a very ordinary scholar, following his own genius rather than the curriculum, and looking forward more eagerly to his vacation among the hills than to his examinations. Perhaps the most interesting thing in his life at Cambridge was his fellowship with the young political enthusiasts, whose spirit is expressed in his remarkable poem on the French Revolution,--a poem which is better than a volume of history to show the hopes and ambitions that stirred all Europe in the first days of that mighty upheaval⁴. Wordsworth made two trips to France, in 1790 and 1791, seeing things chiefly through the rosy⁹⁶ spectacles of the young Oxford⁹⁷ Republicans. On his second visit he joined the Girondists, or the moderate Republicans, and only the decision of his relatives, who cut off his allowance and hurried him back to England, prevented his going headlong to the guillotine with the leaders of his party. Two things rapidly cooled Wordsworth's revolutionary enthusiasm, and ended the only dramatic interest of his placid⁹⁸ life. One was the excesses of the Revolution itself, and especially the execution of Louis XVI; the other was the rise of Napoleon, and the slavish adulation accorded by France to this most vulgar and dangerous of tyrants¹⁰¹. His coolness soon grew to disgust and opposition, as shown by his subsequent poems; and this brought upon him the censure¹⁰² of Shelley, Byron, and other extremists, though it gained the friendship of Scott, who from the first had no sympathy with the Revolution or with the young English enthusiasts.

Of the decisive period of Wordsworth's life, when he was living with his sister Dorothy and with Coleridge at Alfoxden, we have already spoken. The importance of this decision to give himself to poetry is evident when we remember that, at thirty years of age, he was without money or any definite aim or occupation in life. He considered the law, but confessed he had no sympathy for its contradictory¹⁰⁴ precepts¹⁰⁵ and practices; he considered the ministry¹⁰⁶, but though strongly inclined to the Church, he felt himself not good enough for the sacred office; once he had wanted to be a soldier and serve his country, but had wavered at the prospect¹⁰⁷ of dying of disease in a foreign land and throwing away his life without glory or profit to anybody. An apparent accident, which looks more to us like a special Providence¹⁰⁸, determined his course. He had taken care of a young friend, Raisley Calvert, who died of consumption and left Wordsworth heir to a few hundred pounds, and to the request that he should give his life to poetry. It was this unexpected gift which enabled Wordsworth to retire from the world and follow his genius. All his life he was poor, and lived in an atmosphere of plain living and high thinking. His poetry brought him almost nothing in the way of money rewards, and it was only by a series of happy accidents that he was enabled to continue his work. One of these accidents was that he became a Tory, and soon accepted the office of a distributor of stamps, and was later appointed poet laureate by the government,--which occasioned Browning's famous but ill-considered poem of "The Lost Leader":

    Just for a handful of silver he left us,
    Just for a riband to stick in his coat.

The last half century of Wordsworth's life, in which he retired to his beloved lake district and lived successively at Grasmere and Rydal Mount, remind one strongly of Browning's long struggle for literary recognition. It was marked by the same steadfast¹¹⁰ purpose, the same trusted ideal, the same continuous work, and the same tardy¹¹¹ recognition by the public. His poetry was mercilessly ridiculed¹¹² by nearly all the magazine critics, who seized upon the worst of his work as a standard of judgment¹¹⁴; and book after book of poems appeared without meeting any success save the approval of a few loyal friends. Without doubt or impatience¹¹⁵ he continued his work, trusting to the future to recognize and approve it. His attitude here reminds one strongly of the poor old soldier whom he met in the hills,[222] who refused to beg or to mention his long service or the neglect of his country, saying with noble simplicity¹¹⁶,

        My trust is in the God of Heaven
    And in the eye of him who passes me.

Such work and patience are certain of their reward, and long before Wordsworth's death he felt the warm sunshine of general approval. The wave of popular enthusiasm for Scott and Byron passed by, as their limitations were recognized; and Wordsworth was hailed by critics as the first living poet, and one of the greatest that England had ever produced. On the death of Southey (1843) he was made poet laureate, against his own inclination¹¹⁷. The late excessive praise left him quite as unmoved as the first excessive neglect. The steady decline in the quality of his work is due not, as might be expected, to self-satisfaction at success, but rather to his intense conservatism, to his living too much alone and failing to test his work by the standards and judgment of other literary men. He died tranquilly¹¹⁸ in 1850, at the age of eighty years, and was buried in the churchyard at Grasmere.

Such is the brief outward record of the world's greatest interpreter of nature's message; and only one who is acquainted with both nature and the poet can realize how inadequate¹²⁰ is any biography; for the best thing about Wordsworth must always remain unsaid. It is a comfort to know that his life, noble, sincere, "heroically happy," never contradicted his message. Poetry was his life; his soul was in all his work; and only by reading what he has written can we understand the man.

Illustration: WORDSWORTH'S HOME AT RYDAL MOUNT
WORDSWORTH'S HOME AT RYDAL MOUNT

The Poetry of Wordsworth. There is often a sense of disappointment when one reads Wordsworth for the first time; and this leads us to speak first of two difficulties which may easily prevent a just appreciation¹²¹ of the poet's worth. The first difficulty is in the reader, who is often puzzled by Wordsworth's absolute simplicity. We are so used to stage effects in poetry, that beauty unadorned is apt to escape our notice,--like Wordsworth's "Lucy":

    A violet by a mossy stone,
        Half hidden from the eye;
    Fair as a star, when only one
        Is shining in the sky.

Wordsworth set himself to the task of freeing poetry from all its "conceits," of speaking the language of simple truth, and of portraying¹²² man and nature as they are; and in this good work we are apt to miss the beauty, the passion, the intensity¹²³, that hide themselves under his simplest lines. The second difficulty is in the poet, not in the reader. It must be confessed that Wordsworth is not always melodious¹²⁴; that he is seldom graceful¹²⁵, and only occasionally inspired. When he is inspired, few poets can be compared with him; at other times the bulk of his verse is so wooden and prosy that we wonder how a poet could have written it. Moreover he is absolutely without humor, and so he often fails to see the small step that separates the sublime¹²⁶ from the ridiculous. In no other way can we explain "The Idiot Boy," or pardon the serious absurdity¹²⁷ of "Peter Bell" and his grieving jackass.

Poems of NatureOn account of these difficulties it is well to avoid at first the longer works and begin with a good book of selections.[223] When we read these exquisite¹²⁸ shorter poems, with their noble lines that live forever in our memory, we realize that Wordsworth is the greatest poet of nature that our literature has produced. If we go further, and study the poems that impress us, we shall find four remarkable characteristics: (1) Wordsworth is sensitive as a barometer¹²⁹ to every subtle change in the world about him. In The Prelude he compares himself to an ?olian harp¹³⁰, which answers with harmony to every touch of the wind; and the figure is strikingly accurate, as well as interesting, for there is hardly a sight or a sound, from a violet to a mountain and from a bird note to the thunder of the cataract¹³¹, that is not reflected in some beautiful way in Wordsworth's poetry.

(2) Of all the poets who have written of nature there is none that compares with him in the truthfulness¹³³ of his representation. Burns, like Gray, is apt to read his own emotions into natural objects, so that there is more of the poet than of nature even in his mouse and mountain daisy; but Wordsworth gives you the bird and the flower, the wind and the tree and the river, just as they are, and is content to let them speak their own message.

(3) No other poet ever found such abundant beauty in the common world. He had not only sight, but insight, that is, he not only sees clearly and describes accurately¹³⁴, but penetrates¹³⁶ to the heart of things and always finds some exquisite meaning that is not written on the surface. It is idle to specify¹³⁷ or to quote lines on flowers or stars, on snow or vapor¹³⁸. Nothing is ugly or commonplace in his world; on the contrary, there is hardly one natural phenomenon which he has not glorified¹³⁹ by pointing out some beauty that was hidden from our eyes.

(4) It is the life of nature which is everywhere recognized; not mere⁶² growth and cell changes, but sentient¹⁴⁰, personal life; and the recognition of this personality in nature characterizes all the world's great poetry. In his childhood Wordsworth regarded natural objects, the streams, the hills, the flowers, even the winds, as his companions; and with his mature belief that all nature is the reflection of the living God, it was inevitable that his poetry should thrill with the sense of a Spirit that "rolls through all things." Cowper, Burns, Keats, Tennyson,--all these poets give you the outward aspects of nature in varying degrees; but Wordsworth gives you her very life, and the impression of some personal living spirit that meets and accompanies the man who goes alone through the woods and fields. We shall hardly find, even in the philosophy of Leibnitz, or in the nature myths of our Indians, any such impression of living nature as this poet awakens¹⁴² in us. And that suggests another delightful⁸⁸ characteristic of Wordsworth's poetry, namely, that he seems to awaken⁶⁹ rather than create an impression; he stirs our memory deeply, so that in reading him we live once more in the vague, beautiful wonderland of our own childhood.

Poems of Human LifeSuch is the philosophy of Wordsworth's nature poetry. If we search now for his philosophy of human life, we shall find four more doctrines¹⁴³, which rest upon his basal conception that man is not apart from nature, but is the very "life of her life." (1) In childhood man is sensitive as a wind harp to all natural influences; he is an epitome¹⁴⁴ of the gladness and beauty of the world. Wordsworth explains this gladness and this sensitiveness to nature by the doctrine that the child comes straight from the Creator of nature:

    Our birth is but a sleep and a forgetting:
    The Soul that rises with us, our life's Star,
        Hath had elsewhere its setting,
            And cometh from afar:
        Not in entire forgetfulness
        And not in utter nakedness,
    But trailing clouds of glory do we come
        From God, who is our home.

In this exquisite ode, which he calls "Intimations of Immortality¹⁴⁶ from Recollections of Early Childhood" (1807), Wordsworth sums up his philosophy of childhood; and he may possibly be indebted here to the poet Vaughan, who, more than a century before, had proclaimed in "The Retreat" the same doctrine. This kinship with nature and with God, which glorifies¹⁴⁷ childhood, ought to extend through a man's whole life and ennoble it. This is the teaching of "Tintern Abbey," in which the best part of our life is shown to be the result of natural influences. According to Wordsworth, society and the crowded unnatural life of cities tend to weaken and pervert¹⁴⁸ humanity; and a return to natural and simple living is the only remedy for human wretchedness.

(2) The natural instincts and pleasures of childhood are the true standards of a man's happiness in this life. All artificial pleasures soon grow tiresome¹⁴⁹. The natural pleasures, which a man so easily neglects in his work, are the chief means by which we may expect permanent and increasing joy. In "Tintern Abbey," "The Rainbow," "Ode to Duty," and "Intimations of Immortality" we see this plain teaching; but we can hardly read one of Wordsworth's pages without finding it slipped in unobtrusively, like the fragrance¹⁵⁰ of a wild flower.

(3) The truth of humanity, that is, the common life which labors¹⁵¹ and loves and shares the general heritage of smiles and tears, is the only subject of permanent literary interest. Burns and the early poets of the Revival¹⁵² began the good work of showing the romantic interest of common life; and Wordsworth continued it in "Michael," "The Solitary Reaper," "To a Highland¹⁵³ Girl," "Stepping Westward," The Excursion, and a score of lesser¹⁵⁴ poems. Joy and sorrow, not of princes or heroes, but "in widest commonalty spread," are his themes; and the hidden purpose of many of his poems is to show that the keynote of all life is happiness,--not an occasional thing, the result of chance or circumstance, but a heroic thing, to be won, as one would win any other success, by work and patience.

(4) To this natural philosophy of man Wordsworth adds a mystic element, the result of his own belief that in every natural object there is a reflection of the living God. Nature is everywhere transfused¹⁵⁵ and illumined by Spirit; man also is a reflection of the divine Spirit; and we shall never understand the emotions roused by a flower or a sunset until we learn that nature appeals through the eye of man to his inner spirit. In a word, nature must be "spiritually discerned." In "Tintern Abbey" the spiritual appeal of nature is expressed in almost every line; but the mystic conception of man is seen more clearly in "Intimations of Immortality," which Emerson calls "the high-water mark of poetry in the nineteenth century." In this last splendid ode Wordsworth adds to his spiritual interpretation¹⁵⁶ of nature and man the alluring¹⁵⁷ doctrine of pre?xistence, which has appealed so powerfully to Hindoo and Greek in turn, and which makes of human life a continuous, immortal¹⁴⁵ thing, without end or beginning.

The RecluseWordsworth's longer poems, since they contain much that is prosy and uninteresting, may well be left till after we have read the odes, sonnets¹⁶⁰, and short descriptive poems that have made him famous. As showing a certain heroic cast of Wordsworth's mind, it is interesting to learn that the greater part of his work, including The Prelude and The Excursion, was intended for a place in a single great poem, to be called The Recluse¹⁵⁸, which should treat of nature, man, and society. The Prelude, treating of the growth of a poet's mind, was to introduce the work. The Home at Grasmere, which is the first book of The Recluse, was not published till 1888, long after the poet's death. The Excursion (1814) is the second book of The Recluse; and the third was never completed, though Wordsworth intended to include most of his shorter poems in this third part, and so make an immense personal epic¹⁶¹ of a poet's life and work. It is perhaps just as well that the work remained unfinished. The best of his work appeared in the Lyrical Ballads (1798) and in the sonnets, odes, and lyrics¹⁶² of the next ten years; though "The Duddon Sonnets" (1820), "To a Skylark" (1825), and "Yarrow Revisited" (1831) show that he retained till past sixty much of his youthful enthusiasm. In his later years, however, he perhaps wrote too much; his poetry, like his prose, becomes dull and unimaginative; and we miss the flashes of insight, the tender memories of childhood, and the recurrence¹⁶³ of noble lines--each one a poem--that constitutes the surprise and the delight of reading Wordsworth.

    The outward shows of sky and earth,
        Of hill and valley, he has viewed;
    And impulses of deeper birth
        Have come to him in solitude¹⁶⁴.
    In common things that round us lie
        Some random¹⁶⁵ truths he can impart--
    The harvest of a quiet eye
        That broods and sleeps on his own heart.

SAMUEL TAYLOR COLERIDGE (1772-1834)

    A grief without a pang¹⁶⁶, void, dark and drear,
        A stifled¹⁶⁷, drowsy¹⁶⁸, unimpassioned grief,
    Which finds no natural outlet¹⁶⁹, no relief,
        In word, or sigh, or tear.

In the wonderful "Ode to Dejection," from which the above fragment is taken, we have a single strong impression of Coleridge's whole life,--a sad, broken, tragic¹⁷⁰ life, in marked contrast with the peaceful existence of his friend Wordsworth. For himself, during the greater part of his life, the poet had only grief and remorse¹⁷¹ as his portion; but for everybody else, for the audiences that were charmed by the brilliancy of his literary lectures, for the friends who gathered about him to be inspired by his ideals and conversation, and for all his readers who found unending delight in the little volume which holds his poetry, he had and still has a cheering message, full of beauty and hope and inspiration. Such is Coleridge, a man of grief who makes the world glad.

Life. In 1772 there lived in Ottery St. Mary, Devonshire, a queer little man, the Rev⁶. John Coleridge, vicar of the parish church and master of the local grammar school. In the former capacity he preached profound sermons, quoting to open-mouthed rustics¹⁷² long passages from the Hebrew, which he told them was the very tongue of the Holy Ghost. In the latter capacity he wrote for his boys a new Latin grammar, to mitigate¹⁷³ some of the difficulties of traversing that terrible jungle by means of ingenious bypaths and short cuts. For instance, when his boys found the ablative a somewhat difficult case to understand, he told them to think of it as the quale-quare-quidditive case, which of course makes its meaning perfectly¹⁷⁴ clear. In both these capacities the elder Coleridge was a sincere man, gentle and kindly¹⁷⁵, whose memory was "like a religion" to his sons and daughters. In that same year was born Samuel Taylor Coleridge, the youngest of thirteen children. He was an extraordinarily¹⁷⁶ precocious¹⁷⁷ child, who could read at three years of age, and who, before he was five, had read the Bible and the Arabian Nights, and could remember an astonishing amount from both books. From three to six he attended a "dame¹¹" school; and from six till nine (when his father died and left the family destitute) he was in his father's school, learning the classics, reading an enormous quantity of English books, avoiding novels, and delighting in cumbrous theological and metaphysical treatises¹⁷⁹. At ten he was sent to the Charity School of Christ's Hospital, London, where he met Charles Lamb, who records his impression of the place and of Coleridge in one of his famous essays.[224] Coleridge seems to have remained in this school for seven or eight years without visiting his home,--a poor, neglected boy, whose comforts and entertainments were all within himself. Just as, when a little child, he used to wander over the fields with a stick in his hand, slashing¹⁸⁰ the tops from weeds and thistles, and thinking himself to be the mighty champion of Christendom against the infidels, so now he would lie on the roof of the school, forgetting the play of his fellows and the roar of the London streets, watching the white clouds drifting over and following them in spirit into all sorts of romantic adventures.

Illustration: SAMUEL TAYLOR COLERIDGE
SAMUEL TAYLOR COLERIDGE

At nineteen this hopeless dreamer, who had read more books than an old professor, entered Cambridge as a charity student. He remained for nearly three years, then ran away because of a trifling¹⁸¹ debt and enlisted¹⁸² in the Dragoons, where he served several months before he was discovered and brought back to the university. He left in 1794 without taking his degree; and presently we find him with the youthful Southey,--a kindred spirit, who had been fired to wild enthusiasm by the French Revolution,--founding his famous Pantisocracy for the regeneration of human society. "The Fall of Robespierre," a poem composed by the two enthusiasts, is full of the new revolutionary spirit. The Pantisocracy, on the banks of the Susquehanna, was to be an ideal community, in which the citizens combined farming and literature; and work was to be limited to two hours each day. Moreover, each member of the community was to marry a good woman, and take her with him. The two poets obeyed the latter injunction first, marrying two sisters, and then found that they had no money to pay even their traveling expenses to the new Utopia.

During all the rest of his career a tragic weakness of will takes possession of Coleridge, making it impossible for him, with all his genius and learning, to hold himself steadily to any one work or purpose. He studied in Germany; worked as a private secretary, till the drudgery¹⁸³ wore upon his free spirit; then he went to Rome and remained for two years, lost in study. Later he started The Friend, a paper devoted¹⁸⁴ to truth and liberty; lectured on poetry and the fine arts to enraptured¹⁸⁵ audiences in London, until his frequent failures to meet his engagements scattered¹⁸⁶ his hearers; was offered an excellent position and a half interest (amounting to some ￡2000) in the Morning Post and The Courier, but declined it, saying "that I would not give up the country and the lazy reading of old folios for two thousand times two thousand pounds,--in short, that beyond ￡350 a year I considered money a real evil." His family, meanwhile, was almost entirely¹⁸⁷ neglected; he lived apart, following his own way, and the wife and children were left in charge of his friend Southey. Needing money, he was on the point of becoming a Unitarian minister, when a small pension from two friends enabled him to live for a few years without regular employment.

A terrible shadow in Coleridge's life was the apparent cause of most of his dejection. In early life he suffered from neuralgia, and to ease the pain began to use opiates. The result on such a temperament¹⁸⁸ was almost inevitable. He became a slave to the drug habit; his naturally weak will lost all its directing and sustaining force, until, after fifteen years of pain and struggle and despair, he gave up and put himself in charge of a physician, one Mr. Gillman, of Highgate. Carlyle, who visited him at this time, calls him "a king of men," but records that "he gave you the idea of a life that had been full of sufferings, a life heavy-laden, half-vanquished, still swimming painfully in seas of manifold physical and other bewilderment."

The shadow is dark indeed; but there are gleams of sunshine that occasionally break through the clouds. One of these is his association with Wordsworth and his sister Dorothy, in the Quantock hills, out of which came the famous Lyrical Ballads of 1798. Another was his loyal devotion to poetry for its own sake. With the exception of his tragedy Remorse, which through Byron's influence was accepted at Drury Lane Theater, and for which he was paid ￡400, he received almost nothing for his poetry. Indeed, he seems not to have desired it; for he says: "Poetry has been to me its own exceeding great reward; it has soothed¹⁸⁹ my afflictions; it has multiplied and refined my enjoyments¹⁹⁰; it has endeared solitude, and it has given me the habit of wishing to discover the good and the beautiful in all that meets and surrounds me." One can better understand his exquisite verse after such a declaration. A third ray of sunlight came from the admiration¹⁹¹ of his contemporaries; for though he wrote comparatively little, he was by his talents and learning a leader among literary men, and his conversations were as eagerly listened to as were those of Dr. Johnson. Wordsworth says of him that, though other men of the age had done some wonderful things, Coleridge was the only wonderful man he had ever known. Of his lectures on literature a contemporary says: "His words seem to flow as from a person repeating with grace and energy some delightful poem." And of his conversation it is recorded: "Throughout a long-drawn¹⁹² summer's day would this man talk to you in low, equable but clear and musical tones, concerning things human and divine; marshalling all history, harmonizing all experiment, probing the depths of your consciousness, and revealing visions of glory and terror to the imagination."

The last bright ray of sunlight comes from Coleridge's own soul, from the gentle, kindly nature which made men love and respect him in spite of his weaknesses, and which caused Lamb to speak of him humorously as "an archangel a little damaged." The universal law of suffering seems to be that it refines and softens¹⁹³ humanity; and Coleridge was no exception to the law. In his poetry we find a note of human sympathy, more tender and profound than can be found in Wordsworth or, indeed, in any other of the great English poets. Even in his later poems, when he has lost his first inspiration and something of the splendid imaginative power that makes his work equal to the best of Blake's, we find a soul tender, triumphant¹⁹⁴, quiet, "in the stillness of a great peace." He died in 1834, and was buried in Highgate Church. The last stanza¹⁹⁵ of the boatman's song, in Remorse, serves better to express the world's judgment than any epitaph:

    Hark! the cadence¹⁹⁶ dies away
    On the quiet moon-lit sea;
    The boatmen rest their oars¹⁹⁷ and say,
        Miserere Domini!

Works of Coleridge. The works of Coleridge naturally divide themselves into three classes,--the poetic⁷⁵, the critical, and the philosophical¹⁹⁸, corresponding to the early, the middle, and the later periods of his career. Of his poetry Stopford Brooke well says: "All that he did excellently might be bound up in twenty pages, but it should be bound in pure gold." His early poems show the influence of Gray and Blake, especially of the latter. When Coleridge begins his "Day Dream" with the line, "My eyes make pictures when they're shut," we recall instantly Blake's haunting Songs of Innocence¹⁹⁹. But there is this difference between the two poets,--in Blake we have only a dreamer; in Coleridge we have the rare combination of the dreamer and the profound scholar. The quality of this early poetry, with its strong suggestion of Blake, may be seen in such poems as "A Day Dream," "The Devil's Thoughts," "The Suicide's Argument," and "The Wanderings of Cain." His later poems, wherein we see his imagination bridled²⁰⁰ by thought and study, but still running very freely, may best be appreciated in "Kubla Khan," "Christabel," and "The Rime of the Ancient Mariner." It is difficult to criticise²⁰¹ such poems; one can only read them and wonder at their melody, and at the vague suggestions which they conjure²⁰² up in the mind. "Kubla Khan" is a fragment, painting a gorgeous Oriental dream picture, such as one might see in an October sunset. The whole poem came to Coleridge one morning when he had fallen asleep over Purchas, and upon awakening he began to write hastily,

    In Xanadu did Kubla Khan
    A stately pleasure-dome decree:
    Where Alph, the sacred river, ran
    Through caverns²⁰³ measureless to man
    Down to a sunless sea.

He was interrupted after fifty-four lines were written, and he never finished the poem.

"Christabel" is also a fragment, which seems to have been planned as the story of a pure young girl who fell under the spell of a sorcerer, in the shape of the woman Geraldine. It is full of a strange melody, and contains many passages of exquisite poetry; but it trembles with a strange, unknown horror, and so suggests the supernatural terrors of the popular hysterical novels, to which we have referred. On this account it is not wholesome²⁰⁴ reading; though one flies in the face of Swinburne and of other critics by venturing to suggest such a thing.

The Rime of the Ancient Mariner"The Rime of the Ancient Mariner" is Coleridge's chief contribution to the Lyrical Ballads of 1798, and is one of the world's masterpieces. Though it introduces the reader to a supernatural realm, with a phantom²⁰⁵ ship, a crew of dead men, the overhanging curse of the albatross, the polar spirit, and the magic breeze, it nevertheless manages to create a sense of absolute reality concerning these manifest absurdities²⁰⁶. All the mechanisms²⁰⁷ of the poem, its meter, rime, and melody are perfect; and some of its descriptions of the lonely sea have never been equaled. Perhaps we should say suggestions, rather than descriptions; for Coleridge never describes things, but makes a suggestion, always brief and always exactly right, and our own imagination instantly supplies the details. It is useless to quote fragments; one must read the entire poem, if he reads nothing else of the romantic school of poetry.

Among Coleridge's shorter poems there is a wide variety, and each reader must be left largely to follow his own taste. The beginner will do well to read a few of the early poems, to which we have referred, and then try the "Ode to France," "Youth and Age," "Dejection," "Love Poems," "Fears in Solitude," "Religious Musings," "Work Without Hope," and the glorious "Hymn²⁰⁸ Before Sunrise in the Vale of Chamouni." One exquisite little poem from the Latin, "The Virgin's Cradle Hymn," and his version of Schiller's Wallenstein, show Coleridge's remarkable power as a translator. The latter is one of the best poetical translations in our literature.

Prose Works Of Coleridge's prose works, the Biographia, Literaria, or Sketches²⁰⁹ of My Literary Life and Opinions (1817), his collected Lectures on Shakespeare (1849), and Aids to Reflection (1825) are the most interesting from a literary view point. The first is an explanation and criticism of Wordsworth's theory of poetry, and contains more sound sense and illuminating²¹⁰ ideas on the general subject of poetry than any other book in our language. The Lectures, as refreshing²¹¹ as a west wind in midsummer, are remarkable for their attempt to sweep away the arbitrary rules which for two centuries had stood in the way of literary criticism of Shakespeare, in order to study the works themselves. No finer analysis and appreciation of the master's genius has ever been written. In his philosophical work Coleridge introduced the idealistic philosophy of Germany into England. He set himself in line with Berkeley, and squarely against Bentham, Malthus, Mill, and all the materialistic²¹³ tendencies which were and still are the bane of English philosophy. The Aids to Reflection is Coleridge's most profound work, but is more interesting to the student of religion and philosophy than to the readers of literature.

ROBERT SOUTHEY (1774-1843)

Closely associated with Wordsworth and Coleridge is Robert Southey; and the three, on account of their residence in the northern lake district, were referred to contemptuously as the "Lakers" by the Scottish magazine reviewers. Southey holds his place in this group more by personal association than by his literary gifts. He was born at Bristol, in 1774; studied at Westminster School, and at Oxford, where he found himself in perpetual conflict with the authorities on account of his independent views. He finally left the university and joined Coleridge in his scheme of a Pantisocracy. For more than fifty years he labored²¹⁴ steadily at literature, refusing to consider any other occupation. He considered himself seriously as one of the greatest writers of the day, and a reading of his ballads--which connected him at once with the romantic school--leads us to think that, had he written less, he might possibly have justified²¹⁵ his own opinion of himself. Unfortunately he could not wait for inspiration, being obliged to support not only his own family but also, in large measure, that of his friend Coleridge.

Works of SoutheySouthey gradually surrounded himself with one of the most extensive libraries in England, and set himself to the task of of writing something every working day. The results of his industry were one hundred and nine volumes, besides some hundred and fifty articles for the magazines, most of which are now utterly²¹⁶ forgotten. His most ambitious poems are Thalaba, a tale of Arabian enchantment²¹⁷; The Curse of Kehama, a medley of Hindoo mythology²¹⁸; Madoc, a legend of a Welsh prince who discovered the western world; and Roderick, a tale of the last of the Goths. All these, and many more, although containing some excellent passages, are on the whole exaggerated and unreal, both in manner and in matter. Southey wrote far better prose than poetry, and his admirable Life of Nelson is still often read. Besides these are his Lives of British Admirals, his lives of Cowper and Wesley, and his histories of Brazil and of the Peninsular War.

Illustration: ROBERT SOUTHEY
ROBERT SOUTHEY

Southey was made Poet Laureate in 1813, and was the first to raise that office from the low estate into which it had fallen since the death of Dryden. The opening lines of Thalaba, beginning,

    How beautiful is night!
    A dewy freshness fills the silent air,

are still sometimes quoted; and a few of his best known short poems, like "The Scholar," "Auld²¹⁹ Cloots," "The Well of St. Keyne," "The Inchcape Rock," and "Lodore," will repay the curious reader. The beauty of Southey's character, his patience and helpfulness, make him a worthy³⁴ associate of the two greater poets with whom he is generally named.

WALTER SCOTT (1771-1832)

We have already called attention to two significant movements of the eighteenth century, which we must for a moment recall if we are to appreciate Scott, not simply as a delightful teller²²⁰ of tales, but as a tremendous force in modern literature. The first is the triumph of romantic poetry in Wordsworth and Coleridge; the second is the success of our first English novelists, and the popularization of literature by taking it from the control of a few patrons and critics and putting it into the hands of the people as one of the forces which mold our modern life. Scott is an epitome of both these movements. The poetry of Wordsworth and Coleridge was read by a select few, but Scott's Marmion and Lady of the Lake aroused a whole nation to enthusiasm, and for the first time romantic poetry became really popular. So also the novel had been content to paint men and women of the present, until the wonderful series of Waverley novels appeared, when suddenly, by the magic of this "Wizard of the North," all history seemed changed. The past, which had hitherto appeared as a dreary²²¹ region of dead heroes, became alive again, and filled with a multitude of men and women who had the surprising charm of reality. It is of small consequence that Scott's poetry and prose are both faulty; that his poems are read chiefly for the story, rather than for their poetic excellence²²²; and that much of the evident crudity²²³ and barbarism of the Middle Ages is ignored or forgotten in Scott's writings. By their vigor²²⁴, their freshness, their rapid action, and their breezy, out-of-door atmosphere, Scott's novels attracted thousands of readers who else had known nothing of the delights of literature. He is, therefore, the greatest known factor in establishing and in popularizing that romantic element in prose and poetry which has been for a hundred years the chief characteristic of our literature.

Life. Scott was born in Edinburgh, on August 15, 1771. On both his mother's and father's side he was descended²²⁵ from old Border families, distinguished²²⁶ more for their feuds²²⁷ and fighting than for their intellectual attainments²²⁸. His father was a barrister, a just man, who often lost clients by advising them to be, first of all, honest in their lawsuits²²⁹. His mother was a woman of character and education, strongly imaginative, a teller of tales which stirred young Walter's enthusiasm by revealing the past as a world of living heroes.

As a child, Scott was lame³⁶ and delicate, and was therefore sent away from the city to be with his grandmother in the open country at Sandy Knowe, in Roxburghshire, near the Tweed. This grandmother was a perfect treasure-house of legends concerning the old Border feuds. From her wonderful tales Scott developed that intense love of Scottish history and tradition which characterizes all his work.

By the time he was eight years old, when he returned to Edinburgh, Scott's tastes were fixed²³⁰ for life. At the high school he was a fair scholar, but without enthusiasm, being more interested in Border stories than in the text-books. He remained at school only six or seven years, and then entered his father's office to study law, at the same time attending lectures at the university. He kept this up for some six years without developing any interest in his profession, not even when he passed his examinations and was admitted to the Bar, in 1792. After nineteen years of desultory²³¹ work, in which he showed far more zeal in gathering²³² Highland legends than in gaining clients, he had won two small legal offices which gave him enough income to support him comfortably. His home, meanwhile, was at Ashestiel on the Tweed, where all his best poetry was written.

Scott's literary work began with the translation from the German of Bürger's romantic ballad⁶⁷ of Lenore (1796) and of Goethe's G?tz von Berlichingen (1799); but there was romance enough in his own loved Highlands, and in 1802-1803 appeared three volumes of his Minstrelsy of the Scottish Border, which he had been collecting for many years. In 1805, when Scott was 34 years old, appeared his first original work, The Lay of the Last Minstrel. Its success was immediate²³³, and when Marmion (1808) and The Lady of the Lake (1810) aroused Scotland and England to intense enthusiasm, and brought unexpected fame to the author,--without in the least spoiling his honest and lovable nature,--Scott gladly resolved to abandon the law, in which he had won scant²³⁴ success, and give himself wholly to literature. Unfortunately, however, in order to increase his earnings⁸⁴, he entered secretly into partnership with the firms of Constable²³⁵ and the brothers Ballantyne, as printer-publishers,--a sad mistake, indeed, and the cause of that tragedy which closed the life of Scotland's greatest writer.

Illustration: WALTER SCOTT
WALTER SCOTT

The year 1811 is remarkable for two things in Scott's life. In this year he seems to have realized that, notwithstanding the success of his poems, he had not yet "found himself"; that he was not a poetic genius, like Burns; that in his first three poems he had practically exhausted²³⁷ his material, though he still continued to write verse; and that, if he was to keep his popularity, he must find some other work. The fact that, only a year later, Byron suddenly became the popular favorite, shows how correctly Scott had judged himself and the reading public, which was even more fickle²³⁸ than usual in this emotional age. In that same year, 1811, Scott bought the estate of Abbotsford, on the Tweed, with which place his name is forever associated. Here he began to spend large sums, and to dispense²³⁹ the generous hospitality of a Scotch²⁴⁰ laird, of which he had been dreaming for years. In 1820 he was made a baronet; and his new title of Sir Walter came nearer to turning his honest head than had all his literary success. His business partnership was kept secret, and during all the years when the Waverley novels were the most popular books in the world, their authorship remained unknown; for Scott deemed it beneath the dignity of his title to earn money by business or literature, and sought to give the impression that the enormous sums spent at Abbotsford in improving the estate and in entertaining lavishly²⁴¹ were part of the dignity of the position and came from ancestral sources.

It was the success of Byron's Childe Harold, and the comparative failure of Scott's later poems, Rokeby, The Bridal of Triermain, and The Lord of the Isles²⁴², which led our author into the new field, where he was to be without a rival. Rummaging²⁴³ through a cabinet one day in search of some fishing tackle, Scott found the manuscript of a story which he had begun and laid aside nine years before. He read this old story eagerly, as if it had been another's work; finished it within three weeks, and published it without signing his name. The success of this first novel, Waverley (1814), was immediate and unexpected. Its great sales and the general chorus of praise for its unknown author were without precedent²⁴⁴; and when Guy Mannering, The Antiquary, Black Dwarf²⁴⁵, Old Mortality, Rob Roy, and The Heart of Midlothian appeared within the next four years, England's delight and wonder knew no bounds. Not only at home, but also on the Continent, large numbers of these fresh and fascinating stories were sold as fast as they could be printed.

During the seventeen years which followed the appearance of Waverley, Scott wrote on an average nearly two novels per year, creating an unusual number of characters and illustrating²⁴⁶ many periods of Scotch, English, and French history, from the time of the Crusades to the fall of the Stuarts. In addition to these historical novels, he wrote Tales of a Grandfather, Demonology and Witchcraft²⁴⁷, biographies of Dryden and of Swift, the Life of Napoleon, in nine volumes, and a large number of articles for the reviews and magazines. It was an extraordinary amount of literary work, but it was not quite so rapid and spontaneous as it seemed. He had been very diligent²⁴⁸ in looking up old records, and we must remember that, in nearly all his poems and novels, Scott was drawing upon a fund of legend, tradition, history, and poetry, which he had been gathering for forty years, and which his memory enabled him to produce at will with almost the accuracy of an encyclopedia²⁴⁹.

Illustration: ABBOTSFORD
ABBOTSFORD

For the first six years Scott held himself to Scottish history, giving us in nine remarkable novels the whole of Scotland, its heroism²⁵⁰, its superb faith and enthusiasm, and especially its clannish²⁵¹ loyalty²⁵² to its hereditary²⁵³ chiefs; giving us also all parties and characters, from Covenanters to Royalists, and from kings to beggars. After reading these nine volumes we know Scotland and Scotchmen as we can know them in no other way. In 1819 he turned abruptly²⁵⁴ from Scotland, and in Ivanhoe, the most popular of his works, showed what a mine of neglected wealth lay just beneath the surface of English history. It is hard to realize now, as we read its rapid, melodramatic action, its vivid portrayal²⁵⁵ of Saxon and Norman character, and all its picturesque²⁵⁶ details, that it was written rapidly, at a time when the author was suffering from disease and could hardly repress an occasional groan²⁵⁷ from finding its way into the rapid dictation. It stands to-day as the best example of the author's own theory that the will of a man is enough to hold him steadily, against all obstacles, to the task of "doing what he has a mind to do." Kenilworth, Nigel, Peveril, and Woodstock, all written in the next few years, show his grasp of the romantic side of English annals; Count Robert and The Talisman²⁵⁸ show his enthusiasm for the heroic side of the Crusaders' nature; and Quentin Durwardand Anne of Geierstein suggest another mine of romance which he discovered in French history.

For twenty years Scott labored steadily at literature, with the double object of giving what was in him, and of earning large sums to support the lavish⁹⁹ display which he deemed essential to a laird of Scotland. In 1826, while he was blithely²⁵⁹ at work on Woodstock, the crash came. Not even the vast earnings of all these popular novels could longer keep the wretched business of Ballantyne on its feet, and the firm failed, after years of mismanagement. Though a silent partner, Scott assumed full responsibility, and at fifty-five years of age, sick, suffering, and with all his best work behind him, he found himself facing a debt of over half a million dollars. The firm could easily have compromised with its creditors²⁶⁰; but Scott refused to hear of bankruptcy²⁶¹ laws under which he could have taken refuge. He assumed the entire debt as a personal one, and set resolutely²⁶² to work to pay every penny. Times were indeed changed in England when, instead of a literary genius starving until some wealthy patron gave him a pension, this man, aided by his pen alone, could confidently begin to earn that enormous amount of money. And this is one of the unnoticed results of the popularization of literature. Without a doubt Scott would have accomplished²⁶³ the task, had he been granted only a few years of health. He still lived at Abbotsford, which he had offered to his creditors, but which they generously refused to accept; and in two years, by miscellaneous work, had paid some two hundred thousand dollars of his debt, nearly half of this sum coming from his Life of Napoleon. A new edition of the Waverley novels appeared, which was very successful financially, and Scott had every reason to hope that he would soon face the world owing no man a penny, when he suddenly broke under the strain. In 1830 occurred a stroke of paralysis²⁶⁴ from which he never fully⁶³ recovered; though after a little time he was again at work, dictating²⁶⁵ with splendid patience and resolution. He writes in his diary at this time: "The blow is a stunning²⁶⁶ one, I suppose, for I scarcely feel it. It is singular, but it comes with as little surprise as if I had a remedy ready, yet God knows I am at sea in the dark, and the vessel²⁶⁷ leaky."

It is good to remember that governments are not always ungrateful, and to record that, when it became known that a voyage to Italy might improve Scott's health, the British government promptly²⁶⁸ placed a naval²⁶⁹ vessel at the disposal of a man who had led no armies to the slaughter²⁷⁰, but had only given pleasure to multitudes of peaceable men and women by his stories. He visited Malta, Naples, and Rome; but in his heart he longed for Scotland, and turned homeward after a few months of exile. The river Tweed, the Scotch hills, the trees of Abbotsford, the joyous²⁷¹ clamor of his dogs, brought forth²⁷² the first exclamation²⁷³ of delight which had passed Scott's lips since he sailed away. He died in September of the same year, 1832, and was buried with his ancestors in the old Dryburgh Abbey.

Works of Scott. Scott's work is of a kind which the critic gladly passes over, leaving each reader to his own joyous and uninstructed opinion. From a literary view point the works are faulty enough, if one is looking for faults; but it is well to remember that they were intended to give delight, and that they rarely fail of their object. When one has read the stirring Marmion or the more enduring Lady of the Lake, felt the heroism of the Crusaders in The Talisman, the picturesqueness²⁷⁴ of chivalry²⁷⁵ in Ivanhoe, the nobleness of soul of a Scotch peasant girl in The Heart of Midlothian, and the quality of Scotch faith in Old Mortality, then his own opinion of Scott's genius will be of more value than all the criticisms that have ever been written.

Scott's PoetryAt the outset we must confess frankly²⁷⁶ that Scott's poetry is not artistic²⁷⁷, in the highest sense, and that it lacks the deeply imaginative and suggestive qualities which make a poem the noblest and most enduring work of humanity. We read it now, not for its poetic excellence, but for its absorbing story interest. Even so, it serves an admirable purpose. Marmion and The Lady of the Lake, which are often the first long poems read by the beginner in literature, almost invariably lead to a deeper interest in the subject; and many readers owe to these poems an introduction to the delights of poetry. They are an excellent beginning, therefore, for young readers, since they are almost certain to hold the attention, and to lead indirectly²⁷⁸ to an interest in other and better poems. Aside from this, Scott's poetry is marked by vigor and youthful abandon; its interest lies in its vivid pictures, its heroic characters, and especially in its rapid action and succession of adventures, which hold and delight us still, as they held and delighted the first wondering readers. And one finds here and there terse²⁷⁹ descriptions, or snatches of song and ballad, like the "Boat Song" and "Lochinvar," which are among the best known in our literature.

Scott's NovelsIn his novels Scott plainly wrote too rapidly and too much. While a genius of the first magnitude, the definition of genius as "the infinite capacity for taking pains" hardly belongs to him. For details of life and history, for finely drawn characters, and for tracing the logical consequences of human action, he has usually no inclination. He sketches a character roughly, plunges²⁸⁰ him into the midst of stirring incidents, and the action of the story carries us on breathlessly to the end. So his stories are largely adventure stories, at the best; and it is this element of adventure and glorious action, rather than the study of character, which makes Scott a perennial²⁸¹ favorite of the young. The same element of excitement is what causes mature readers to turn from Scott to better novelists, who have more power to delineate human character, and to create, or discover, a romantic interest in the incidents of everyday life rather than in stirring adventure.[225]

Scott's Work for LiteratureNotwithstanding these limitations, it is well--especially in these days, when we hear that Scott is outgrown--to emphasize four noteworthy things that he accomplished.

(1) He created the historical novel[226]; and all novelists of the last century who draw upon history for their characters and events are followers²⁸² of Scott and acknowledge his mastery.

(2) His novels are on a vast scale, covering a very wide range of action, and are concerned with public rather than with private interests. So, with the exception of The Bride of Lammermoor, the love story in his novels is generally pale and feeble; but the strife²⁸³ and passions of big parties are magnificently portrayed²⁸⁴. A glance over even the titles of his novels shows how the heroic side of history for over six hundred years finds expression in his pages; and all the parties of these six centuries--Crusaders, Covenanters, Cavaliers, Roundheads, Papists, Jews, Gypsies, Rebels--start into life again, and fight or give a reason for the faith that is in them. No other novelist in England, and only Balzac in France, approaches Scott in the scope of his narratives²⁸⁵.

(3) Scott was the first novelist in any language to make the scene an essential element in the action. He knew Scotland, and loved it; and there is hardly an event in any of his Scottish novels in which we do not breathe the very atmosphere of the place, and feel the presence of its moors²⁸⁶ and mountains. The place, morever, is usually so well chosen and described that the action seems almost to be the result of natural environment. Perhaps the most striking illustration of this harmony between scene and incident is found in Old Mortality, where Morton approaches the cave of the old Covenanter, and where the spiritual terror inspired by the fanatic's struggle with imaginary fiends is paralleled by the physical terror of a gulf²⁸⁷ and a roaring flood spanned by a slippery tree trunk. A second illustration of the same harmony of scene and incident is found in the meeting of the arms and ideals of the East and West, when the two champions fight in the burning desert, and then eat bread together in the cool shade of the oasis²⁸⁸, as described in the opening chapter of The Talisman. A third illustration is found in that fascinating love scene, where Ivanhoe lies wounded, raging at his helplessness, while the gentle Rebecca alternately hides and reveals her love as she describes the terrific assault on the castle, which goes on beneath her window. His thoughts are all on the fight; hers on the man she loves; and both are natural, and both are exactly what we expect under the circumstances. These are but striking examples of the fact that, in all his work, Scott tries to preserve perfect harmony between the scene and the action.

(4) Scott's chief claim to greatness lies in the fact that he was the first novelist to recreate the past; that he changed our whole conception of history by making it to be, not a record of dry facts, but a stage on which living men and women played their parts. Carlyle's criticism is here most pertinent²⁸⁹: "These historical novels have taught this truth ... unknown to writers of history: that the bygone ages of the world were actually filled by living men, not by protocols²⁹⁰, state papers, controversies²⁹¹, and abstractions of men." Not only the pages of history, but all the hills and vales of his beloved Scotland are filled with living characters,--lords and ladies, soldiers, pirates, gypsies, preachers, schoolmasters, clansmen, bailiffs, dependents,--all Scotland is here before our eyes, in the reality of life itself. It is astonishing, with his large numbers of characters, that Scott never repeats himself. Naturally he is most at home in Scotland, and with humble²⁹² people. Scott's own romantic interest in feudalism caused him to make his lords altogether too lordly; his aristocratic maidens²⁹⁴ are usually bloodless, conventional, exasperating²⁹⁵ creatures, who talk like books and pose like figures in an old tapestry²⁹⁶. But when he describes characters like Jeanie Deans, in The Heart of Midlothian, and the old clansman, Evan Dhu, in Waverley, we know the very soul of Scotch womanhood and manhood.

Perhaps one thing more should be said, or rather repeated, of Scott's enduring work. He is always sane²⁹⁷, wholesome, manly²⁹⁸, inspiring. We know the essential nobility of human life better, and we are better men and women ourselves, because of what he has written.

GEORGE GORDON, LORD BYRON (1788-1824)

There are two distinct sides to Byron and his poetry, one good, the other bad; and those who write about him generally describe one side or the other in superlatives. Thus one critic speaks of his "splendid and imperishable excellence of sincerity²⁹⁹ and strength"; another of his "gaudy³⁰⁰ charlatanry³⁰¹, blare of brass³⁰², and big bow-wowishness." As both critics are fundamentally right, we shall not here attempt to reconcile their differences, which arise from viewing one side of the man's nature and poetry to the exclusion³⁰³ of the other. Before his exile from England, in 1816, the general impression made by Byron is that of a man who leads an irregular life, poses as a romantic hero, makes himself out much worse than he really is, and takes delight in shocking not only the conventions but the ideals of English society. His poetry of this first period is generally, though not always, shallow and insincere in thought, and declamatory or bombastic³⁰⁵ in expression. After his exile, and his meeting with Shelley in Italy, we note a gradual improvement, due partly to Shelley's influence and partly to his own mature thought and experience. We have the impression now of a disillusioned³⁰⁶ man who recognizes his true character, and who, though cynical³⁰⁷ and pessimistic, is at least honest in his unhappy outlook on society. His poetry of this period is generally less shallow and rhetorical, and though he still parades his feelings in public, he often surprises us by being manly and sincere. Thus in the third canto³⁰⁹ of Childe Harold, written just after his exile, he says:

    In my youth's summer I did sing of one,
    The wandering outlaw³¹⁰ of his own dark mind;

and as we read on to the end of the splendid fourth canto--with its poetic feeling for nature, and its stirring rhythm that grips and holds the reader like martial³¹¹ music--we lay down the book with profound regret that this gifted man should have devoted so much of his talent to describing trivial or unwholesome intrigues³¹³ and posing as the hero of his own verses. The real tragedy of Byron's life is that he died just as he was beginning to find himself.

Life. Byron was born in London in 1788, the year preceding the French Revolution. We shall understand him better, and judge him more charitably, if we remember the tainted³¹⁴ stock from which he sprang. His father was a dissipated spendthrift of unspeakable morals; his mother was a Scotch heiress, passionate and unbalanced. The father deserted³¹⁵ his wife after squandering³¹⁶ her fortune; and the boy was brought up by the mother who "alternately petted and abused" him. In his eleventh year the death of a granduncle left him heir to Newstead Abbey and to the baronial title of one of the oldest houses in England. He was singularly handsome; and a lameness³¹⁷ resulting from a deformed³¹⁸ foot lent a suggestion of pathos³¹⁹ to his make-up. All this, with his social position, his pseudo-heroic poetry, and his dissipated life,--over which he contrived³²⁰ to throw a veil of romantic secrecy³²¹,--made him a magnet of attraction to many thoughtless young men and foolish women, who made the downhill path both easy and rapid to one whose inclinations³²² led him in that direction. Naturally he was generous, and easily led by affection. He is, therefore, largely a victim of his own weakness and of unfortunate surroundings.

At school at Harrow, and in the university at Cambridge, Byron led an unbalanced life, and was more given to certain sports from which he was not debarred by lameness, than to books and study. His school life, like his infancy³²³, is sadly marked by vanity, violence, and rebellion against every form of authority; yet it was not without its hours of nobility and generosity³²⁴. Scott describes him as "a man of real goodness of heart, and the kindest and best feelings, miserably³²⁵ thrown away by his foolish contempt of public opinion." While at Cambridge, Byron published his first volume of poems, Hours of Idleness, in 1807. A severe criticism of the volume in the Edinburgh Review wounded Byron's vanity, and threw him into a violent passion, the result of which was the now famous satire³²⁶ called English Bards³²⁷ and Scotch Reviewers, in which not only his enemies, but also Scott, Wordsworth, and nearly all the literary men of his day, were satirized³²⁸ in heroic couplets after the manner of Pope's Dunciad. It is only just to say that he afterwards made friends with Scott and with others whom he had abused without provocation³²⁹; and it is interesting to note, in view of his own romantic poetry, that he denounced all masters of romance and accepted the artificial standards of Pope and Dryden. His two favorite books were the Old Testament³³⁰ and a volume of Pope's poetry. Of the latter he says, "His is the greatest name in poetry ... all the rest are barbarians³³¹."

Illustration: GEORGE GORDON, LORD BYRON
GEORGE GORDON, LORD BYRON

In 1809 Byron, when only twenty-one years of age, started on a tour of Europe and the Orient. The poetic results of this trip were the first two cantos of Childe Harold's Pilgrimage, with their famous descriptions of romantic scenery. The work made him instantly popular, and his fame overshadowed Scott's completely. As he says himself, "I awoke one morning to find myself famous," and presently he styles himself "the grand Napoleon of the realms of rhyme." The worst element in Byron at this time was his insincerity, his continual posing as the hero of his poetry. His best works were translated, and his fame spread almost as rapidly on the Continent as in England. Even Goethe was deceived, and declared that a man so wonderful in character had never before appeared in literature, and would never appear again. Now that the tinsel has worn off, and we can judge the man and his work dispassionately, we see how easily even the critics of the age were governed by romantic impulses.

The adulation of Byron lasted only a few years in England. In 1815 he married Miss Milbanke, an English heiress, who abruptly left him a year later. With womanly reserve she kept silence; but the public was not slow to imagine plenty of reasons for the separation. This, together with the fact that men had begun to penetrate¹³⁵ the veil of romantic secrecy with which Byron surrounded himself and found a rather brassy idol³³² beneath, turned the tide of public opinion against him. He left England under a cloud of distrust and disappointment, in 1816, and never returned. Eight years were spent abroad, largely in Italy, where he was associated with Shelley until the latter's tragic death in 1822. His house was ever the meeting place for Revolutionists and malcontents calling themselves patriots³³³, whom he trusted too greatly, and with whom he shared his money most generously. Curiously³³⁴ enough, while he trusted men too easily, he had no faith in human society or government, and wrote in 1817: "I have simplified my politics to an utter detestation of all existing governments." During his exile he finished Childe Harold, The Prisoner of Chillon, his dramas Cain and Manfred, and numerous other works, in some of which, as in Don Juan, he delighted in revenging himself upon his countrymen by holding up to ridicule¹¹³ all that they held most sacred.

In 1824 Byron went to Greece to give himself and a large part of his fortune to help that country in its struggle for liberty against the Turks. How far he was led by his desire for posing as a hero, and how far by a certain vigorous Viking spirit that was certainly in him, will never be known. The Greeks welcomed him and made him a leader, and for a few months he found himself in the midst of a wretched squabble of lies, selfishness, insincerity, cowardice³³⁵, and intrigue³¹², instead of the heroic struggle for liberty which he had anticipated. He died of fever, in Missolonghi, in 1824. One of his last poems, written there on his thirty-sixth birthday, a few months before he died, expresses his own view of his disappointing life:

    My days are in the yellow leaf,
    The flowers and fruits of love are gone:
    The worm, the canker, and the grief
            Are mine alone.

Works of Byron. In reading Byron it is well to remember that he was a disappointed and embittered³³⁶ man, not only in his personal life, but also in his expectation of a general transformation³³⁷ of human society. As he pours out his own feelings, chiefly, in his poetry, he is the most expressive³³⁸ writer of his age in voicing the discontent of a multitude of Europeans who were disappointed at the failure of the French Revolution to produce an entirely new form of government and society.

Hours of IdlenessOne who wishes to understand the whole scope of Byron's genius and poetry will do well to begin with his first work, Hours of Idleness, written when he was a young man at the university. There is very little poetry in the volume, only a striking facility in rime, brightened by the devil-may-care spirit of the Cavalier poets; but as a revelation of the man himself it is remarkable. In a vain and sophomoric³³⁹ preface he declares that poetry is to him an idle experiment, and that this is his first and last attempt to amuse himself in that line. Curiously enough, as he starts for Greece on his last, fatal journey, he again ridicules³⁴⁰ literature, and says that the poet is a "mere babbler." It is this despising of the art which alone makes him famous that occasions our deepest disappointment. Even in his magnificent passages, in a glowing description of nature or of a Hindoo woman's exquisite love, his work is frequently marred³⁴¹ by a wretched pun, or by some cheap buffoonery, which ruins our first splendid impression of his poetry.

Longer PoemsByron's later volumes, Manfred and Cain, the one a curious, and perhaps unconscious, parody³⁴² of Faust, the other of Paradise Lost, are his two best known dramatic works. Aside from the question of their poetic value, they are interesting as voicing Byron's excessive individualism and his rebellion against society. The best known and the most readable of Byron's works Mazeppa, The Prisoner of Chillon, and Childe Harold's Pilgrimage. The first two cantos of Childe Harold (1812) are perhaps more frequently read than any other work of the same author, partly because of their melodious verse, partly because of their descriptions of places along the lines of European travel; but the last two cantos (1816-1818) written after his exile from England, have more sincerity, and are in every way better expressions of Byron's mature genius. Scattered through all his works one finds magnificent descriptions of natural scenery, and exquisite lyrics of love and despair; but they are mixed with such a deal of bombast³⁰⁴ and rhetoric³⁰⁸, together with much that is unwholesome, that the beginner will do well to confine himself to a small volume of well-chosen selections.[227]

Byron is often compared with Scott, as having given to us Europe and the Orient, just as Scott gave us Scotland and its people; but while there is a certain resemblance in the swing and dash of the verses, the resemblance is all on the surface, and the underlying³⁴³ difference between the two poets is as great as that between Thackeray and Bulwer-Lytton. Scott knew his country well,--its hills and valleys which are interesting as the abode³⁴⁴ of living and lovable men and women. Byron pretended to know the secret, unwholesome side of Europe, which generally hides itself in the dark; but instead of giving us a variety of living men, he never gets away from his own unbalanced and egotistical self. All his characters, in Cain, Manfred, The Corsair, The Giaour, Childe Harold, Don Juan, are tiresome repetitions of himself,--a vain, disappointed, cynical man, who finds no good in life or love or anything. Naturally, with such a disposition³⁴⁵, he is entirely incapable³⁴⁶ of portraying a true woman. To nature alone, especially in her magnificent moods, Byron remains³⁴⁷ faithful; and his portrayal of the night and the storm and the ocean in Childe Harold are unsurpassed in our language.

PERCY BYSSHE SHELLEY (1792-1822)

    Make me thy lyre, even as the forest is:
        What if my leaves are falling like its own!
    The tumult³⁴⁸ of thy mighty harmonies
        Will take from both a deep, autumnal tone,
    Sweet though in sadness. Be thou, spirit fierce,
        My spirit! Be thou me, impetuous one!

Illustration: PERCY BYSSHE SHELLEY
PERCY BYSSHE SHELLEY

In this fragment, from the "Ode to the West Wind," we have a suggestion of Shelley's own spirit, as reflected in all his poetry. The very spirit of nature, which appeals to us in the wind and the cloud, the sunset and the moonrise, seems to have possessed³⁴⁹ him, at times, and made him a chosen instrument of melody. At such times he is a true poet, and his work is unrivaled. At other times, unfortunately, Shelley joins with Byron in voicing a vain rebellion against society. His poetry, like his life, divides itself into two distinct moods. In one he is the violent reformer, seeking to overthrow our present institutions and to hurry the millennium³⁵⁰ out of its slow walk into a gallop³⁵¹. Out of this mood come most of his longer poems, like Queen Mab, Revolt of Islam, Hellas, and The Witch of Atlas³⁵², which are somewhat violent diatribes³⁵³ against government, priests, marriage, religion, even God as men supposed him to be. In a different mood, which finds expression Alastor, Adonais, and his wonderful lyrics, Shelley is like a wanderer following a vague, beautiful vision, forever sad and forever unsatisfied. In the latter mood he appeals profoundly to all men who have known what it is to follow after an unattainable ideal.

Shelley's Life. There are three classes of men who see visions, and all three are represented in our literature. The first is the mere dreamer, like Blake, who stumbles through a world of reality without noticing it, and is happy in his visions. The second is the seer, the prophet, like Langland, or Wyclif, who sees a vision and quietly goes to work, in ways that men understand, to make the present world a little more like the ideal one which he sees in his vision. The third, who appears in many forms,--as visionary, enthusiast⁵³, radical³⁵⁴, anarchist³⁵⁵, revolutionary, call him what you will,--sees a vision and straightway begins to tear down all human institutions, which have been built up by the slow toil³⁵⁶ of centuries, simply because they seem to stand in the way of his dream. To the latter class belongs Shelley, a man perpetually at war with the present world, a martyr³⁵⁷ and exile, simply because of his inability to sympathize with men and society as they are, and because of his own mistaken judgment as to the value and purpose of a vision.

Shelley was born in Field Place, near Horsham, Sussex, in 1792. On both his father's and his mother's side he was descended from noble old families, famous in the political and literary history of England. From childhood he lived, like Blake, in a world of fancy, so real that certain imaginary dragons and headless creatures of the neighboring wood kept him and his sisters in a state of fearful expectancy³⁵⁸. He learned rapidly, absorbed the classics as if by intuition, and, dissatisfied with ordinary processes of learning, seems to have sought, like Faustus, the acquaintance of spirits, as shown in his "Hymn to Intellectual Beauty":

    While yet a boy, I sought for ghosts, and sped
        Through many a listening chamber³⁵⁹, cave and ruin,
        And starlight wood, with fearful steps pursuing
    Hopes of high talk with the departed dead.

Shelley's first public school, kept by a hard-headed Scotch master, with its floggings and its general brutality³⁶¹, seemed to him like a combination of hell and prison; and his active rebellion against existing institutions was well under way when, at twelve years of age, he entered the famous preparatory school at Eton. He was a delicate, nervous, marvelously sensitive boy, of great physical beauty; and, like Cowper, he suffered torments³⁶² at the hands of his rough schoolfellows. Unlike Cowper, he was positive, resentful, and brave to the point of rashness; soul and body rose up against tyranny; and he promptly organized a rebellion against the brutal³⁶⁰ fagging system. "Mad Shelley" the boys called him, and they chivied him like dogs around a little coon that fights and cries defiance³⁶³ to the end. One finds what he seeks in this world, and it is not strange that Shelley, after his Eton experiences, found causes for rebellion in all existing forms of human society, and that he left school "to war among mankind," as he says of himself in the Revolt of Islam. His university days are but a repetition of his earlier experiences. While a student at Oxford he read some scraps³⁶⁴ of Hume's philosophy, and immediately published a pamphlet called "The Necessity of Atheism³⁶⁵." It was a crude, foolish piece of work, and Shelley distributed it by post to every one to whom it might give offense³⁶⁶. Naturally this brought on a conflict with the authorities, but Shelley would not listen to reason or make any explanation, and was expelled from the university in 1811.

Shelley's marriage was even more unfortunate. While living in London, on a generous sister's pocket money, a certain young schoolgirl, Harriet Westbrook, was attracted by Shelley's crude revolutionary doctrines. She promptly left school, as her own personal part in the general rebellion, and refused to return or even to listen to her parents upon the subject. Having been taught by Shelley, she threw herself upon his protection; and this unbalanced couple were presently married, as they said, "in deference³⁶⁷ to anarch custom." The two infants had already proclaimed a rebellion against the institution of marriage, for which they proposed to substitute the doctrine of elective affinity³⁶⁸. For two years they wandered about England, Ireland, and Wales, living on a small allowance from Shelley's father, who had disinherited his son because of his ill-considered marriage. The pair soon separated, and two years later Shelley, having formed a strong friendship with one Godwin,--a leader of young enthusiasts and a preacher of anarchy,--presently showed his belief in Godwin's theories by eloping with his daughter Mary. It is a sad story, and the details were perhaps better forgotten. We should remember that in Shelley we are dealing³⁶⁹ with a tragic blend of high-mindedness and light-headedness. Byron wrote of him, "The most gentle, the most amiable³⁷⁰, and the least worldly-minded person I ever met!"

Led partly by the general hostility³⁷¹ against him, and partly by his own delicate health, Shelley went to Italy in 1818, and never returned to England. After wandering over Italy he finally settled in Pisa, beloved of so many English poets,--beautiful, sleepy Pisa, where one looks out of his window on the main street at the busiest hour of the day, and the only living thing in sight is a donkey, dozing³⁷² lazily, with his head in the shade and his body in the sunshine. Here his best poetry was written, and here he found comfort in the friendship of Byron, Hunt, and Trelawney, who are forever associated with Shelley's Italian life. He still remained hostile to English social institutions; but life is a good teacher, and that Shelley dimly recognized the error of his rebellion is shown in the increasing sadness of his later poems:

    O world, O life, O time!
    On whose last steps I climb,
        Trembling at that where I had stood before;
    When will return the glory of your prime?
        No more--oh, never more!
    Out of the day and night
    A joy has taken flight;
        Fresh spring, and summer, and winter hoar,
    Move my faint heart with grief, but with delight
        No more--oh, never more!

In 1822, when only thirty years of age, Shelley was drowned while sailing in a small boat off the Italian coast. His body was washed ashore³⁷³ several days later, and was cremated³⁷⁴, near Viareggio, by his friends, Byron, Hunt, and Trelawney. His ashes might, with all reverence³⁷⁵, have been given to the winds that he loved and that were a symbol of his restless spirit; instead, they found a resting place near the grave of Keats, in the English cemetery³⁷⁶ at Rome. One rarely visits the spot now without finding English and American visitors standing²³⁶ in silence before the significant inscription³⁷⁷, Cor Cordium.

Works of Shelley. As a lyric poet, Shelley is one of the supreme³⁷⁸ geniuses of our literature; and the reader will do well to begin with the poems which show him at his very best. "The Cloud," "To a Skylark," "Ode to the West Wind," "To Night,"--poems like these must surely set the reader to searching among Shelley's miscellaneous works, to find for himself the things "worthy to be remembered."

AlastorIn reading Shelley's longer poems one must remember that there are in this poet two distinct men: one, the wanderer, seeking ideal beauty and forever unsatisfied; the other, the unbalanced reformer, seeking the overthrow of present institutions and the establishment of universal happiness. Alastor, or the Spirit of Solitude (1816) is by far the best expression of Shelley's greater mood. Here we see him wandering restlessly through the vast silences of nature, in search of a loved dream-maiden²⁹³ who shall satisfy his love of beauty. Here Shelley is the poet of the moonrise, and of the tender exquisite fancies that can never be expressed. The charm of the poem lies in its succession of dreamlike pictures; but it gives absolutely no impressions of reality. It was written when Shelley, after his long struggle, had begun to realize that the world was too strong for him. Alastor is therefore the poet's confession³⁷⁹, not simply of failure, but of undying hope in some better thing that is to come.

PrometheusPrometheus Unbound (1818-1820), a lyrical drama, is the best work of Shelley's revolutionary enthusiasm, and the most characteristic of all his poems. Shelley's philosophy (if one may dignify³⁸⁰ a hopeless dream by such a name) was a curious aftergrowth of the French Revolution, namely, that it is only the existing tyranny of State, Church, and society which keeps man from growth into perfect happiness. Naturally Shelley forgot, like many other enthusiasts, that Church and State and social laws were not imposed upon man from without, but were created by himself to minister to his necessities. In Shelley's poem the hero, Prometheus, represents mankind itself,--a just and noble humanity, chained and tortured by Jove, who is here the personification of human institutions.[228] In due time Demogorgon (which is Shelley's name for Necessity) overthrows³⁸¹ the tyrant¹⁰⁰ Jove and releases Prometheus (Mankind), who is presently united to Asia, the spirit of love and goodness in nature, while the earth and the moon join in a wedding song, and everything gives promise that they shall live together happy ever afterwards.

Shelley here looks forward, not back, to the Golden Age, and is the prophet of science and evolution. If we compare his Titan with similar characters in Faust and Cain, we shall find this interesting difference,--that while Goethe's Titan is cultured and self-reliant, and Byron's stoic³⁸² and hopeless, Shelley's hero is patient under torture, seeing help and hope beyond his suffering. And he marries Love that the earth may be peopled with superior beings who shall substitute brotherly love for the present laws and conventions of society. Such is his philosophy; but the beginner will read this poem, not chiefly for its thought, but for its youthful enthusiasm, for its marvelous imagery, and especially for its ethereal music. Perhaps we should add here that Prometheus is, and probably always will be, a poem for the chosen few who can appreciate its peculiar³⁸³ spiritlike beauty. In its purely³⁸⁴ pagan conception of the world, it suggests, by contrast, Milton's Christian³⁸⁵ philosophy in Paradise Regained³⁸⁶.

Shelley's revolutionary works, Queen Mab (1813), The Revolt of Islam (1818), Hellas (1821), and The Witch of Atlas (1820), are to be judged in much the same way as is Prometheus Unbound. They are largely invectives against religion, marriage, kingcraft, and priestcraft, most impractical³⁸⁷ when considered as schemes for reform, but abounding in passages of exquisite beauty, for which alone they are worth reading. In the drama called The Cenci (1819), which is founded upon a morbid³⁸⁸ Italian story, Shelley for the first and only time descends³⁸⁹ to reality. The heroine, Beatrice, driven to desperation by the monstrous³⁹⁰ wickedness of her father, kills him and suffers the death penalty in consequence. She is the only one of Shelley's characters who seems to us entirely human.

Adonais Far different in character is Epipsychidion (1821), a rhapsody celebrating Platonic³⁹¹ love, the most impalpable, and so one of the most characteristic, of all Shelley's works. It was inspired by a beautiful Italian girl, Emilia Viviani, who was put into a cloister³⁹² against her will, and in whom Shelley imagined he found his long-sought ideal of womanhood. With this should be read Adonais (1821), the best known of all Shelley's longer poems. Adonais is a wonderful threnody³⁹³, or a song of grief, over the death of the poet Keats. Even in his grief Shelley still preserves a sense of unreality, and calls in many shadowy allegorical figures,--Sad Spring, Weeping Hours, Glooms, Splendors³⁹⁴, Destinies,--all uniting in bewailing the loss of a loved one. The whole poem is a succession of dream pictures, exquisitely³⁹⁶ beautiful, such as only Shelley could imagine; and it holds its place with Milton's Lycidas and Tennyson's In Memoriam as one of the three greatest elegies³⁹⁷ in our language.

Shelley and Wordsworth In his interpretation of nature Shelley suggests Wordsworth, both by resemblance and by contrast. To both poets all natural objects are symbols of truth; both regard nature as permeated³⁹⁸ by the great spiritual life which animates³⁹⁹ all things; but while Wordsworth finds a spirit of thought, and so of communion between nature and the soul of man, Shelley finds a spirit of love, which exists chiefly for its own delight; and so "The Cloud," "The Skylark," and "The West Wind," three of the most beautiful poems in our language, have no definite message for humanity. In his "Hymn to Intellectual Beauty" Shelley is most like Wordsworth; but in his "Sensitive Plant," with its fine symbolism and imagery, he is like nobody in the world but himself. Comparison is sometimes an excellent thing; and if we compare Shelley's exquisite "Lament," beginning "O world, O life, O time," with Wordsworth's "Intimations of Immortality," we shall perhaps understand both poets better. Both poems recall many happy memories of youth; both express a very real mood of a moment; but while the beauty of one merely saddens and disheartens us, the beauty of the other inspires us with something of the poet's own faith and hopefulness. In a word, Wordsworth found and Shelley lost himself in nature.

JOHN KEATS (1795-1821)

Keats was not only the last but also the most perfect of the Romanticists. While Scott was merely telling stories, and Wordsworth reforming poetry or upholding the moral law, and Shelley advocating impossible reforms, and Byron voicing his own egoism and the political discontent of the times, Keats lived apart from men and from all political measures, worshiping beauty like a devotee, perfectly content to write what was in his own heart, or to reflect some splendor³⁹⁵ of the natural world as he saw or dreamed it to be. He had, moreover, the novel idea that poetry exists for its own sake, and suffers loss by being devoted to philosophy or politics or, indeed, to any cause, however great or small. As he says in "Lamia":

                            ... Do not all charms fly
    At the mere touch of cold philosophy?
    There was an awful rainbow once in heaven:
    We know her woof, her texture⁴⁰⁰; she is given
    In the dull catalogue of common things.
    Philosophy will clip an Angel's wings,
    Conquer all mysteries by rule and line,
    Empty the haunted air, and gnomed mine--
    Unweave a rainbow, as it erewhile made
    The tender-person'd Lamia melt into a shade.

Partly because of this high ideal of poetry, partly because he studied and unconsciously imitated the Greek classics and the best works of the Elizabethans, Keats's last little volume of poetry is unequaled by the work of any of his contemporaries. When we remember that all his work was published in three short years, from 1817 to 1820, and that he died when only twenty-five years old, we must judge him to be the most promising⁴⁰¹ figure of the early nineteenth century, and one of the most remarkable in the history of literature.

Life. Keats's life of devotion to beauty and to poetry is all the more remarkable in view of his lowly origin. He was the son of a hostler and stable keeper, and was born in the stable of the Swan and Hoop⁴⁰² Inn, London, in 1795. One has only to read the rough stable scenes from our first novelists, or even from Dickens, to understand how little there was in such an atmosphere to develop poetic gifts. Before Keats was fifteen years old both parents died, and he was placed with his brothers and sisters in charge of guardians⁴⁰³. Their first act seems to have been to take Keats from school at Enfield, and to bind⁴⁰⁴ him as an apprentice⁴⁰⁵ to a surgeon at Edmonton. For five years he served his apprenticeship⁴⁰⁶, and for two years more he was surgeon's helper in the hospitals; but though skillful enough to win approval, he disliked his work, and his thoughts were on other things. "The other day, during a lecture," he said to a friend, "there came a sunbeam into the room, and with it a whole troop of creatures floating in the ray; and I was off with them to Oberon and fairyland." A copy of Spenser's Faery Queen, which had been given him by Charles Cowden Clark, was the prime cause of his abstraction. He abandoned his profession in 1817, and early in the same year published his first volume of Poems. It was modest enough in spirit, as was also his second volume, Endymion (1818); but that did not prevent brutal attacks upon the author and his work by the self-constituted critics of Blackwood's Magazine and the Quarterly. It is often alleged⁴⁰⁷ that the poet's spirit and ambition were broken by these attacks;[229] but Keats was a man of strong character, and instead of quarreling with his reviewers, or being crushed by their criticism, he went quietly to work with the idea of producing poetry that should live forever. As Matthew Arnold says, Keats "had flint and iron in him"; and in his next volume he accomplished his own purpose and silenced unfriendly criticism.

For the three years during which Keats wrote his poetry he lived chiefly in London and in Hampstead, but wandered at times over England and Scotland, living for brief spaces in the Isle²³ of Wight, in Devonshire, and in the Lake district, seeking to recover his own health, and especially to restore that of his brother. His illness began with a severe cold, but soon developed into consumption; and added to this sorrow was another,--his love for Fannie Brawne, to whom he was engaged, but whom he could not marry on account of his poverty and growing illness. When we remember all this personal grief and the harsh criticism of literary men, the last small volume, Lamia, Isabella, The Eve of St. Agnes, and Other Poems (1820), is most significant, as showing not only Keats's wonderful poetic gifts, but also his beautiful and indomitable spirit. Shelley, struck by the beauty and promise of "Hyperion," sent a generous invitation to the author to come to Pisa and live with him; but Keats refused, having little sympathy with Shelley's revolt against society. The invitation had this effect, however, that it turned Keats's thoughts to Italy, whither he soon went in the effort to save his life. He settled in Rome with his friend Severn, the artist, but died soon after his arrival, in February, 1821. His grave, in the Protestant cemetery at Rome, is still an object of pilgrimage to thousands of tourists; for among all our poets there is hardly another whose heroic life and tragic death have so appealed to the hearts of poets and young enthusiasts.

The Work of Keats. "None but the master shall praise us; and none but the master shall blame" might well be written on the fly leaf of every volume of Keats's poetry; for never was there a poet more devoted to his ideal, entirely independent of success or failure. In strong contrast with his contemporary, Byron, who professed⁴⁰⁸ to despise the art that made him famous, Keats lived for poetry alone, and, as Lowell pointed¹⁰⁹ out, a virtue⁴⁰⁹ went out of him into everything he wrote. In all his work we have the impression of this intense loyalty to his art; we have the impression also of a profound dissatisfaction that the deed falls so far short of the splendid dream. Thus after reading Chapman's translation of Homer he writes:

    Much have I travelled in the realms of gold,
    And many goodly states and kingdoms seen;
    Round many western islands have I been
    Which bards in fealty⁴¹⁰ to Apollo hold.
    Oft of one wide expanse had I been told
    That deep-browed Homer ruled as his demesne⁴¹¹;
    Yet did I never breathe its pure serene⁴¹²
    Till I heard Chapman speak out loud and bold:
    Then felt I like some watcher of the skies
    When a new planet swims into his ken⁷¹;
    Or like stout⁴¹³ Cortez when with eagle eyes
    He stared at the Pacific--and all his men
    Looked at each other with a wild surmise--
    Silent, upon a peak in Darien.

In this striking sonnet¹⁵⁹ we have a suggestion of Keats's high ideal, and of his sadness because of his own ignorance, when he published his first little volume of poems in 1817. He knew no Greek; yet Greek literature absorbed and fascinated him, as he saw its broken and imperfect reflection in an English translation. Like Shakespeare, who also was but poorly educated in the schools, he had a marvelous faculty⁴¹⁴ of discerning the real spirit of the classics,--a faculty denied to many great scholars, and to most of the "classic" writers of the preceding century,--and so he set himself to the task of reflecting in modern English the spirit of the old Greeks.

The imperfect results of this attempt are seen in his next volume, Endymion, which is the story of a young shepherd beloved by a moon goddess. The poem begins with the striking lines:

    A thing of beauty is a joy forever;
    Its loveliness increases; it will never
    Pass into nothingness; but still will keep
    A bower⁴¹⁵ quiet for us; and a sleep
    Full of sweet dreams, and health, and quiet breathing,

which well illustrate⁴¹⁶ the spirit of Keats's later work, with its perfect finish and melody. It has many quotable lines and passages, and its "Hymn to Pan" should be read in connection with Wordsworth's famous sonnet beginning, "The world is too much with us." The poem gives splendid promise, but as a whole it is rather chaotic⁴¹⁷, with too much ornament⁴¹⁸ and too little design, like a modern house. That Keats felt this defect strongly is evident from his modest preface, wherein he speaks of Endymion, not as a deed accomplished, but only as an unsuccessful attempt to suggest the underlying beauty of Greek mythology.

Lamia and Other Poems Keats's third and last volume, Lamia, Isabella, The Eve of St. Agnes, and Other Poems (1820), is the one with which the reader should begin his acquaintance with this master of English verse. It has only two subjects, Greek mythology and medi?val romance. "Hyperion" is a magnificent fragment, suggesting the first arch of a cathedral that was never finished. Its theme is the overthrow of the Titans by the young sun-god Apollo. Realizing his own immaturity⁴¹⁹ and lack of knowledge, Keats laid aside this work, and only the pleadings of his publisher induced him to print the fragment with his completed poems.

Throughout this last volume, and especially in "Hyperion," the influence of Milton is apparent, while Spenser is more frequently suggested in reading Endymion.

Of the longer poems in the volume, "Lamia" is the most suggestive. It is the story of a beautiful enchantress, who turns from a serpent into a glorious woman and fills every human sense with delight, until, as a result of the foolish philosophy of old Apollonius, she vanishes forever from her lover's sight. "The Eve of St. Agnes," the most perfect of Keats's medi?val poems, is not a story after the manner of the metrical romances, but rather a vivid painting of a romantic mood, such as comes to all men, at times, to glorify⁴²⁰ a workaday world. Like all the work of Keats and Shelley, it has an element of unreality; and when we read at the end,

    And they are gone; aye, ages long ago
    These lovers fled away into the storm,

it is as if we were waking from a dream,--which is the only possible ending to all of Keats's Greek and medi?val fancies. We are to remember, however, that no beautiful thing, though it be intangible as a dream, can enter a man's life and leave him quite the same afterwards. Keats's own word is here suggestive. "The imagination," he said, "may be likened to Adam's dream; he awoke and found it true."

It is by his short poems that Keats is known to the majority of present-day readers. Among these exquisite shorter poems we mention only the four odes, "On a Grecian Urn¹³," "To a Nightingale," "To Autumn," and "To Psyche⁴²¹." These are like an invitation to a feast; one who reads them will hardly be satisfied until he knows more of such delightful poetry. Those who study only the "Ode to a Nightingale" may find four things,--a love of account, when he paused in the crowded street tears would spring to his eyes,--tears of pure pleasure at the abundance of so much good life; and when he wrote, he simply interpreted that crowded human life of joy and sorrow, as Wordsworth interpreted the woods and waters, without any desire to change or to reform them. He has given us the best pictures we possess of Coleridge, Hazlitt, Landor, Hood⁴¹, Cowden Clarke, and many more of the interesting men and women of his age; and it is due to his insight and sympathy that the life of those far-off days seems almost as real to us as if we ourselves remembered it. Of all our English essayists he is the most lovable; partly because of his delicate, old-fashioned style and humor, but more because of that cheery and heroic struggle against misfortune which shines like a subdued⁴²² light in all his writings.

Illustration: CHARLES LAMB
CHARLES LAMB

Life. In the very heart of London there is a curious, old-fashioned place known as the Temple,--an enormous, rambling⁴²³, apparently forgotten structure, dusty and still, in the midst of the endless roar of the city streets. Originally it was a chapter house of the Knights⁴²⁴ Templars, and so suggests to us the spirit of the Crusades and of the Middle Ages; but now the building is given over almost entirely to the offices and lodgings⁴²⁶ of London lawyers. It is this queer old place which, more than all others, is associated with the name of Charles Lamb. "I was born," he says, "and passed the first seven years of my life in the Temple. Its gardens, its halls, its fountain, its river... these are my oldest recollections." He was the son of a poor clerk, or rather servant, of one of the barristers, and was the youngest of seven children, only three of whom survived infancy. Of these three, John, the elder, was apparently a selfish creature, who took no part in the heroic struggle of his brother and sister. At seven years, Charles was sent to the famous "Bluecoat" charity school of Christ's Hospital. Here he remained seven years; and here he formed his lifelong friendship for another poor, neglected boy, whom the world remembers as Coleridge.[230]

Illustration: CHRIST'S HOSPITAL, LONDON
CHRIST'S HOSPITAL, LONDON

When only fourteen years old, Lamb left the charity school and was soon at work as a clerk in the South Sea House. Two years later he became a clerk in the famous India House, where he worked steadily for thirty-three years, with the exception of six weeks, in the winter of 1795-1796, spent within the walls of an asylum⁴²⁸. In 1796 Lamb's sister Mary, who was as talented and remarkable as Lamb himself, went violently insane and killed her own mother. For a long time after this appalling⁴²⁹ tragedy she was in an asylum at Hoxton; then Lamb, in 1797, brought her to his own little house, and for the remainder of his life cared for her with a tenderness and devotion which furnishes one of the most beautiful pages in our literary history. At times the malady⁴³⁰ would return to Mary, giving sure warning of its terrible approach; and then brother and sister might be seen walking silently, hand in hand, to the gates of the asylum, their cheeks wet with tears. One must remember this, as well as Lamb's humble lodgings and the drudgery of his daily work in the-big commercial house, if he would appreciate the pathos of "The Old Familiar Faces," or the heroism which shines through the most human and the most delightful essays in our language.

When Lamb was fifty years of age the East India Company, led partly by his literary fame following his first Essays of Elia, and partly by his thirty-three years of faithful service, granted him a comfortable pension; and happy as a boy turned loose from school he left India House forever to give himself up to literary work.[231] He wrote to Wordsworth, in April, 1825, "I came home forever on Tuesday of last week--it was like passing from life into eternity⁴³¹." Curiously enough Lamb seems to lose power after his release from drudgery, and his last essays, published in 1833, lack something of the grace and charm of his earlier work. He died at Edmonton in 1834; and his gifted sister Mary sank rapidly into the gulf from which his strength and gentleness had so long held her back. No literary man was ever more loved and honored by a rare circle of friends; and all who knew him bear witness to the simplicity and goodness which any reader may find for himself between the lines of his essays.

Works. The works of Lamb divide themselves naturally into three periods. First, there are his early literary efforts, including the poems signed "C. L." in Coleridge's Poems on Various Subjects (1796); his romance Rosamund Gray (1798); his poetical drama John Woodvil (1802); and various other immature⁴³² works in prose and poetry. This period comes to an end in 1803, when he gave up his newspaper work, especially the contribution of six jokes, puns, and squibs daily to the Morning Post at sixpence apiece. The second period was given largely to literary criticism; and the Tales from Shakespeare (1807)--written by Charles and Mary Lamb, the former reproducing the tragedies, and the latter the comedies--may be regarded as his first successful literary venture. The book was written primarily for children; but so thoroughly⁴³³ had brother and sister steeped themselves in the literature of the Elizabethan period that young and old alike were delighted with this new version of Shakespeare's stories, and the Tales are still regarded as the best of their kind in our literature. In 1808 appeared his Specimens⁴³⁴ of English Dramatic Poets Contemporary with Shakespeare. This carried out the splendid critical work of Coleridge, and was the most noticeable influence in developing the poetic qualities of Keats, as shown in his last volume.

Essays of EliaThe third period includes Lamb's criticisms of life, which are gathered together in his Essays of Elia (1823), and his Last Essays of Elia, which were published ten years later. These famous essays began in 1820 with the appearance of the new London Magazine[232] and were continued for many years, such subjects as the "Dissertation⁴³⁵ on Roast Pig," "Old China," "Praise of Chimney Sweepers," "Imperfect Sympathies," "A Chapter on Ears," "Mrs. Battle's Opinions on Whist," "Mackery End," "Grace Before Meat," "Dream Children," and many others being chosen apparently at random, but all leading to a delightful interpretation of the life of London, as it appeared to a quiet little man who walked unnoticed through its crowded streets. In the first and last essays which we have mentioned, "Dissertation on Roast Pig" and "Dream Children," we have the extremes of Lamb's humor and pathos.

Lamb's styleThe style of all these essays is gentle, old-fashioned, irresistibly⁴³⁶ attractive. Lamb was especially fond of old writers and borrowed unconsciously from the style of Burton's Anatomy⁴³⁷ of Melancholy⁴³⁸ and from Browne's Religio Medici and from the early English dramatists. But this style had become a part of Lamb by long reading, and he was apparently unable to express his new thought without using their old quaint¹¹⁹ expressions. Though these essays are all criticisms or appreciations⁴³⁹ of the life of his age, they are all intensely personal. In other words, they are an excellent picture of Lamb and of humanity. Without a trace of vanity or self-assertion, Lamb begins with himself, with some purely personal mood or experience, and from this he leads the reader to see life and literature as he saw it. It is this wonderful combination of personal and universal interests, together with Lamb's rare old style and quaint humor, which make the essays remarkable. They continue the best tradition of Addison and Steele, our first great essayists; but their sympathies are broader and deeper, and their humor more delicious than any which preceded them.

THOMAS DE QUINCY (1785-1859)

In De Quincey the romantic element is even more strongly developed than in Lamb, not only in his critical work, but also in his erratic⁴⁴⁰ and imaginative life. He was profoundly educated, even more so than Coleridge, and was one of the keenest intellects of the age; yet his wonderful intellect seems always subordinate to his passion for dreaming. Like Lamb, he was a friend and associate of the Lake poets, making his headquarters in Wordsworth's old cottage at Grasmere for nearly twenty years. Here the resemblance ceases, and a marked contrast begins. As a man, Lamb is the most human and lovable of all our essayists; while De Quincey is the most uncanny and incomprehensible. Lamb's modest works breathe the two essential qualities of sympathy and humor; the greater number of De Quincey's essays, while possessing more or less of both these qualities, are characterized chiefly by their brilliant style. Life, as seen through De Quincey's eyes, is nebulous and chaotic, and there is a suspicion of the fabulous⁴⁴¹ in all that he wrote. Even in The Revolt of the Tartars the romantic element is uppermost, and in much of De Quincey's prose the element of unreality is more noticeable than in Shelley's poetry. Of his subject-matter, his facts, ideas, and criticisms, we are generally suspicious; but of his style, sometimes stately and sometimes headlong, now gorgeous as an Oriental dream, now musical as Keats's Endymion, and always, even in the most violent contrasts, showing a harmony between the idea and the expression such as no other English writer, with the possible exception of Newman, has ever rivaled,--say what you will of the marvelous brilliancy of De Quincey's style, you have still only half expressed the truth. It is the style alone which makes these essays immortal.

Life. De Quincey was born in Manchester in 1785. In neither his father, who was a prosperous merchant, nor his mother, who was a quiet, unsympathetic woman, do we see any suggestion of the son's almost uncanny genius. As a child he was given to dreams, more vivid and intense but less beautiful than those of the young Blake to whom he bears a strong resemblance. In the grammar school at Bath he displayed astonishing ability, and acquired Greek and Latin with a rapidity that frightened his slow tutors. At fifteen he not only read Greek, but spoke¹⁰³ it fluently; and one of his astounded⁴⁴² teachers remarked, "That boy could harangue⁴⁴³ an Athenian mob better than you or I could address an English one." From the grammar school at Manchester, whither he was sent in 1800, he soon ran away, finding the instruction far below his abilities, and the rough life absolutely intolerable to his sensitive nature. An uncle, just home from India, interceded⁴⁴⁴ for the boy lest he be sent back to the school, which he hated; and with an allowance of a guinea a week he started a career of vagrancy⁴⁴⁵, much like that of Goldsmith, living on the open hills, in the huts of shepherds and charcoal⁴⁴⁶ burners, in the tents of gypsies, wherever fancy led him. His fear of the Manchester school finally led him to run away to London, where, without money or friends, his life was even more extraordinary than his gypsy wanderings. The details of this vagrancy are best learned in his Confessions⁴⁴⁷ of an English Opium⁴⁴⁸-Eater, where we meet not simply the facts of his life, but also the confusion of dreams and fancies in the midst of which he wandered like a man lost on the mountains, with storm clouds under his feet hiding the familiar earth. After a year of vagrancy and starvation he was found by his family and allowed to go to Oxford, where his career was marked by the most brilliant and erratic scholarship. When ready for a degree, in 1807, he passed his written tests successfully, but felt a sudden terror at the thought of the oral examination and disappeared from the university, never to return.

Illustration: THOMAS DE QUINCEY
THOMAS DE QUINCEY

It was in Oxford that De Quincey began the use of opium; to relieve the pains of neuralgia, and the habit increased until he was an almost hopeless slave to the drug. Only his extraordinary will power enabled him to break away from the habit, after some thirty years of misery⁴⁴⁹. Some peculiarity⁴⁵⁰ of his delicate constitution enabled De Quincey to take enormous quantities of opium, enough to kill several ordinary men; and it was largely opium, working upon a sensitive imagination, which produced his gorgeous dreams, broken by intervals⁴⁵¹ of weakness and profound depression. For twenty years he resided at Grasmere in the companionship of the Lake poets; and here, led by the loss of his small fortune, he began to write, with the idea of supporting his family. In 1821 he published his first famous work, the Confessions of an English Opium-Eater, and for nearly forty years afterwards he wrote industriously⁴⁵², contributing to various magazines an astonishing number of essays on a great variety of subjects. Without thought of literary fame, he contributed these articles anonymously⁴⁵⁴; but fortunately, in 1853, he began to collect his own works, and the last of fourteen volumes was published just after his death.

In 1830, led by his connection with Blackwood's Magazine, to which he was the chief contributor, De Quincey removed with his family to Edinburgh, where his erratic genius and his singularly childlike ways produced enough amusing anecdotes⁴⁵⁵ to fill a volume. He would take a room in some place unknown to his friends and family; would live in it for a few years, until he had filled it, even to the bath tub, with books and with his own chaotic manuscripts, allowing no one to enter or disturb his den²; and then, when the place became too crowded, he would lock the door and go away and take another lodging⁴²⁷, where he repeated the same extraordinary performance. He died in Edinburgh in 1859. Like Lamb, he was a small, boyish figure, gentle, and elaborately courteous⁴⁵⁶. Though excessively shy, and escaping as often as possible to solitude, he was nevertheless fond of society, and his wide knowledge and vivid imagination made his conversations almost as prized as those of his friend Coleridge.

Works. De Quincey's works may be divided into two general classes. The first includes his numerous critical articles, and the second his autobiographical sketches. All his works, it must be remembered, were contributed to various magazines, and were hastily collected just before his death. Hence the general impression of chaos⁴⁵⁷ which we get from reading them.

Critical essaysFrom a literary view point the most illuminating of De Quincey's critical works is his. Literary Reminiscences. This contains brilliant appreciations of Wordsworth, Coleridge, Lamb, Shelley, Keats, Hazlitt, and Landor, as well as some interesting studies of the literary figures of the age preceding. Among the best of his brilliant critical essays are On the Knocking at the Gate in Macbeth (1823), which is admirably suited to show the man's critical genius, and Murder Considered as One of the Fine Arts (1827), which reveals his grotesque⁴⁵⁸ humor Other suggestive critical works, if one must choose among such a multitude, are his Letters to a Young Man (1823), Joan of Arc (1847), The Revolt of the Tartars (1840), and The English Mail-Coach (1849). In the last-named essay the "Dream Fugue" is one of the most imaginative of all his curious works.

Confessions of an Opium-Eater, etc.Of De Quincey's autobiographical sketches the best known is his Confessions of an English Opium-Eater (1821). This is only partly a record of opium dreams, and its chief interest lies in glimpses it gives us of De Quincey's own life and wanderings. This should be followed by Suspiria de Profundis (1845), which is chiefly a record of gloomy and terrible dreams produced by opiates. The most interesting parts of his Suspiria, showing De Quincey's marvelous insight into dreams, are those in which we are brought face to face with the strange feminine creations "Levana," "Madonna," "Our Lady of Sighs," and "Our Lady of Darkness." A series of nearly thirty articles which he collected in 1853, called Autobiographic Sketches, completes the revelation of the author's own life. Among his miscellaneous works may be mentioned, in order to show his wide range of subjects, Klosterheim, a novel, Logic¹⁷⁸ of Political Economy, the Essays on Style and Rhetoric, Philosophy of Herodotus, and his articles on Goethe, Pope, Schiller, and Shakespeare which he contributed to the Encyclopedia Britannica.

The style of De QuinceyDe Quincey's style is a revelation of the beauty of the English language, and it profoundly influenced Ruskin and other prose writers of the Victorian Age. It has two chief faults,--diffuseness, which continually leads De Quincey away from his object, and triviality, which often makes him halt in the midst of a marvelous paragraph to make some light jest or witticism⁴⁵⁹ that has some humor but no mirth in it. Notwithstanding these faults, De Quincey's prose is still among the few supreme examples of style in our language. Though he was profoundly influenced by the seventeenth-century writers, he attempted definitely to create a new style which should combine the best elements of prose and poetry. In consequence, his prose works are often, like those of Milton, more imaginative and melodious than much of our poetry. He has been well called "the psychologist of style," and as such his works will never be popular; but to the few who can appreciate him he will always be an inspiration to better writing. One has a deeper respect for our English language and literature after reading him.

Secondary Writers of Romanticism. One has only to glance back over the authors we have been studying--Wordsworth, Coleridge, Southey, Byron, Shelley, Keats, Scott, Lamb, De Quincey--to realize the great change which swept over the life and literature of England in a single half century, under two influences which we now know as the French Revolution in history and the Romantic Movement in literature. In life men had rebelled against the too strict authority of state and society; in literature they rebelled even more vigorously against the bonds of classicism, which had sternly repressed a writer's ambition to follow his own ideals and to express them in his own way. Naturally such an age of revolution was essentially⁴⁶⁰ poetic,--only the Elizabethan Age surpasses it in this respect,--and it produced a large number of minor⁴⁶¹ writers, who followed more or less closely the example of its great leaders. Among novelists we have Jane Austen, Frances Burney, Maria Edgeworth, Jane Porter, and Susan Ferrier,--all women, be it noted; among the poets, Campbell, Moore, Hogg ("the Ettrick Shepherd"), Mrs. Hemans, Heber, Keble, Hood, and "Ingoldsby" (Richard Barham); and among miscellaneous writers, Sidney Smith, "Christopher North" (John Wilson), Chalmers, Lockhart, Leigh Hunt, Hazlitt, Hallam, and Landor. Here is an astonishing variety of writers, and to consider all their claims to remembrance would of itself require a volume. Though these are generally classed as secondary writers, much of their work has claims to popularity, and some of it to permanence. Moore's Irish Melodies, Campbell's lyrics, Keble's Christian Year, and Jane Porter's Thaddeus of Warsaw and Scottish Chiefs have still a multitude of readers, where Keats, Lamb, and De Quincey are prized only by the cultured few; and Hallam's historical and critical works are perhaps better known than those of Gibbon, who nevertheless occupies a larger place in our literature. Among all these writers we choose only two, Jane Austen and Walter Savage⁴⁶² Landor, whose works indicate a period of transition from the Romantic to the Victorian Age.

JANE AUSTEN (1775-1817)

We have so lately rediscovered the charm and genius of this gifted young woman that she seems to be a novelist of yesterday, rather than the contemporary of Wordsworth and Coleridge; and few even of her readers realize that she did for the English novel precisely⁴⁶³ what the Lake poets did for English poetry,--she refined and simplified it, making it a true reflection of English life. Like the Lake poets, she met with scanty⁴⁶⁴ encouragement in her own generation. Her greatest novel, Pride and Prejudice, was finished in 1797, a year before the appearance of the famous Lyrical Ballads of Wordsworth and Coleridge; but while the latter book was published and found a few appreciative⁴⁶⁵ readers, the manuscript of this wonderful novel went begging for sixteen years before it found a publisher. As Wordsworth began with the deliberate purpose of making poetry natural and truthful¹³², so Miss Austen appears to have begun writing with the idea of presenting the life of English country society exactly as it was, in opposition to the romantic extravagance of Mrs. Radcliffe and her school. But there was this difference,--that Miss Austen had in large measure the saving gift of humor, which Wordsworth sadly lacked. Maria Edgeworth, at the same time, set a sane and excellent example in her tales of Irish life, The Absentee and Castle Rackrent; and Miss Austen followed up the advantage with at least six works, which have grown steadily in value until we place them gladly in the first rank of our novels of common life. It is not simply for her exquisite charm, therefore, that we admire her, but also for her influence in bringing our novels back to their true place as an expression of human life. It is due partly, at least, to her influence that a multitude of readers were ready to appreciate Mrs. Gaskell's Cranford, and the powerful and enduring work of George Eliot.

Life. Jane Austen's life gives little opportunity for the biographer, unless, perchance, he has something of her own power to show the beauty and charm of commonplace things. She was the seventh child of Rev. George Austen, rector of Steventon, and was born in the parsonage of the village in 1775. With her sisters she was educated at home, and passed her life very quietly, cheerfully, in the doing of small domestic duties, to which love lent the magic lamp that makes all things beautiful. She began to write at an early age, and seems to have done her work on a little table in the family sitting room, in the midst of the family life. When a visitor entered, she would throw a paper or a piece of sewing over her work, and she modestly refused to be known as the author of novels which we now count among our treasured possessions. With the publishers she had little success. Pride and Prejudice went begging, as we have said, for sixteen years; and Northanger Abbey (1798) was sold for a trivial sum to a publisher, who laid it aside and forgot it, until the appearance and moderate success of Sense and Sensibility in 1811. Then, after keeping the manuscript some fifteen years, he sold it back to the family, who found another publisher.

An anonymous⁴⁵³ article in the Quarterly Review, following the appearance of Emma in 1815, full of generous appreciation of the charm of the new writer, was the beginning of Jane Austen's fame; and it is only within a few years that we have learned that the friendly and discerning critic was Walter Scott. He continued to be her admirer until her early death; but these two, the greatest writers of fiction in their age, were never brought together. Both were home-loving people, and Miss Austen especially was averse⁴⁶⁶ to publicity⁴⁶⁷ and popularity. She died, quietly as she had lived, at Winchester, in 1817, and was buried in the cathedral. She was a bright, attractive little woman, whose sunny qualities are unconsciously reflected in all her books.

Works. Very few English writers ever had so narrow a field of work as Jane Austen. Like the French novelists, whose success seems to lie in choosing the tiny field that they know best, her works have an exquisite perfection that is lacking in most of our writers of fiction. With the exception of an occasional visit to the watering place of Bath, her whole life was spent in small country parishes, whose simple country people became the characters of her novels. Her brothers were in the navy, and so naval officers furnish the only exciting elements in her stories; but even these alleged heroes lay aside their imposing⁴⁶⁸ martial ways and act like themselves and other people. Such was her literary field, in which the chief duties were of the household, the chief pleasures in country gatherings⁴⁶⁹, and the chief interests in matrimony. Life, with its mighty interests, its passions, ambitions, and tragic struggles, swept by like a great river; while the secluded⁴⁷⁰ interests of a country parish went round and round quietly, like an eddy⁴⁷¹ behind a sheltering rock. We can easily understand, therefore, the limitations of Jane Austen; but within her own field she is unequaled. Her characters are absolutely true to life, and all her work has the perfection of a delicate miniature painting. The most widely read of her novels is Pride and Prejudice; but three others, Sense and Sensibility, Emma, and Mansfield Park, have slowly won their way to the front rank of fiction. From a literary view point Northanger Abbey is perhaps the best; for in it we find that touch of humor and delicate satire with which this gentle little woman combated the grotesque popular novels of the Udolpho type. Reading any of these works, one is inclined to accept the hearty⁴⁷² indorsement of Sir Walter Scott: "That young lady has a talent for describing the involvements and feelings and characters of ordinary life which is to me the most wonderful I ever met with. The big bowwow strain I can do myself, like any now going; but the exquisite touch which renders ordinary commonplace things and characters interesting from the truth of the description and the sentiment, is denied to me. What a pity such a gifted creature died so early!"

WALTER SAVAGE LANDOR (1775-1864)

While Hazlitt, Lamb, De Quincey, and other romantic critics went back to early English literature for their inspiration, Landor shows a reaction from the prevailing⁴⁷³ Romanticism by his imitation of the ancient classic writers. His life was an extraordinary one and, like his work, abounded⁴⁷⁴ in sharp contrasts. On the one hand, there are his egoism, his unncontrollable anger, his perpetual lawsuits, and the last sad tragedy with his children, which suggests King Lear and his daughters; on the other hand there is his steady devotion to the classics and to the cultivation⁴⁷⁵ of the deep wisdom of the ancients, which suggests Pindar and Cicero. In his works we find the wild extravagance of Gebir, followed by the superb classic style and charm of Pericles and Aspasia. Such was Landor, a man of high ideals, perpetually at war with himself and the world.

Life. Lander's stormy life covers the whole period from Wordsworth's childhood to the middle of the Victorian Era. He was the son of a physician, and was born at Warwick, in 1775. From his mother he inherited a fortune; but it was soon scattered by large expenditures⁴⁷⁶ and law quarrels; and in his old age, refused help by his own children, only Browning's generosity kept Landor from actual want. At Rugby, and at Oxford, his extreme Republicanism brought him into constant trouble; and his fitting out a band of volunteers to assist the Spaniards against Napoleon, in 1808, allies him with Byron and his Quixotic followers. The resemblance to Byron is even more strikingly shown in the poem Gebir, published in 1798, a year made famous by the Lyrical Ballads of Wordsworth and Coleridge.

A remarkable change in Lander's life is noticeable in 1821, when, at forty-six years of age, after having lost his magnificent estate of Llanthony Abbey, in Glamorganshire, and after a stormy experience in Como, he settled down for a time at Fiesole near Florence. To this period of calm after storm we owe the classical prose works for which he is famous. The calm, like that at the center of a whirlwind, lasted but a short time, and Landor, leaving his family in great anger, returned to Bath, where he lived alone for more than twenty years. Then, in order to escape a libel suit, the choleric⁴⁷⁷ old man fled back to Italy. He died at Florence, in 1864. The spirit of his whole life may be inferred from the defiant⁴⁷⁸ farewell which he flung to it:

    I strove with none, for none was worth my strife;
          Nature I loved, and next to Nature Art;
    I warmed both hands before the fire of life;
          It sinks, and I am ready to depart.

Works. Landor's reaction from Romanticism is all the more remarkable in view of his early efforts, such as Gebir, a wildly romantic poem, which rivals any work of Byron or Shelley in its extravagance. Notwithstanding its occasional beautiful and suggestive lines, the work was not and never has been successful; and the same may be said of all his poetical works. His first collection of poems was published in 1795, his last a full half century later, in 1846. In the latter volume, The Hellenics,--which included some translations of his earlier Latin poems, called Idyllia Heroica,--one has only to read "The Hamadryad," and compare it with the lyrics of the first volume, in order to realize the astonishing literary vigor of a man who published two volumes, a half century apart, without any appreciable⁴⁷⁹ diminution⁴⁸⁰ of poetical feeling. In all these poems one is impressed by the striking and original figures of speech which Landor uses to emphasize his meaning.

It is by his prose works, largely, that Landor has won a place in our literature; partly because of their intrinsic worth, their penetrating⁴⁸¹ thought, and severe classic style; and partly because of their profound influence upon the writers of the present age. The most noted of his prose works are his six volumes of Imaginary Conversations (1824-1846). For these conversations Landor brings together, sometimes in groups, sometimes in couples, well-known characters, or rather shadows, from the four corners of the earth and from the remotest ages of recorded history. Thus Diogenes talks with Plato, ?sop¹⁴¹ with a young slave girl in Egypt, Henry VIII with Anne Boleyn in prison, Dante with Beatrice, Leofric with Lady Godiva,--all these and many others, from Epictetus to Cromwell, are brought together and speak of life and love and death, each from his own view point. Occasionally, as in the meeting of Henry and Anne Boleyn, the situation is tense and dramatic; but as a rule the characters simply meet and converse⁴⁸² in the same quiet strain, which becomes, after much reading, somewhat monotonous⁴⁸³. On the other hand, one who reads the Imaginary Conversations is lifted at once into a calm and noble atmosphere which braces⁴⁸⁴ and inspires him, making him forget petty things, like a view from a hilltop. By its combination of lofty thought and severely⁴⁸⁵ classic style the book has won, and deserves, a very high place among our literary records.

The same criticism applies to Pericles and Aspasia, which is a series of imaginary letters, telling the experiences of Aspasia, a young lady from Asia Minor, who visits Athens at the summit of its fame and glory, in the great age of Pericles. This is, in our judgment, the best worth reading of all Landor's works. One gets from it not only Landor's classic style, but--what is well worth while--a better picture of Greece in the days of its greatness than can be obtained from many historical volumes.

Summary of the Age of Romanticism. This period extends from the war with the colonies, following the Declaration of Independence, in 1776, to the accession of Victoria in 1837, both limits being very indefinite, as will be seen by a glance at the Chronology following. During the first part of the period especially, England was in a continual turmoil, produced by political and economic agitation⁴⁸⁶ at home, and by the long wars that covered two continents and the wide sea between them. The mighty changes resulting from these two causes have given this period the name of the Age of Revolution. The storm center of all the turmoil at home and abroad was the French Revolution, which had a profound influence on the life and literature of all Europe. On the Continent the overthrow of Napoleon at Waterloo (1815) apparently checked the progress of liberty, which had started with the French Revolution,[233] but in England the case was reversed. The agitation for popular liberty, which at one time threatened a revolution, went steadily forward till it resulted in the final triumph of democracy, in the Reform Bill of 1832, and in a number of exceedingly important reforms, such as the extension of manhood suffrage, the removal of the last unjust restrictions against Catholics, the establishment of a national system of schools, followed by a rapid increase in popular education, and the abolition of slavery in all English colonies (1833). To this we must add the changes produced by the discovery of steam and the invention of machinery, which rapidly changed England from an agricultural to a manufacturing nation, introduced the factory system, and caused this period to be known as the Age of Industrial Revolution.

The literature of the age is largely poetical in form, and almost entirely romantic in spirit. For, as we have noted, the triumph of democracy in government is generally accompanied by the triumph of romanticism in literature. At first the literature, as shown especially in the early work of Wordsworth, Byron, and Shelley, reflected the turmoil of the age and the wild hopes of an ideal democracy occasioned by the French Revolution. Later the extravagant enthusiasm subsided⁴⁸⁷, and English writers produced so much excellent literature that the age is often called the Second Creative period, the first being the Age of Elizabeth. The six chief characteristics of the age are: the prevalence of romantic poetry; the creation of the historical novel by Scott; the first appearance of women novelists, such as Mrs. Anne Radcliffe, Jane Porter, Maria Edgeworth, and Jane Austen; the development of literary criticism, in the work of Lamb, De Quincey, Coleridge, and Hazlitt; the practical and economic bent²¹² of philosophy, as shown in the work of Malthus, James Mill, and Adam Smith; and the establishment of great literary magazines, like the Edinburgh Review, the Quarterly, Blackwood's, and the Athenaeum.

In our study we have noted (1) the Poets of Romanticism: the importance of the Lyrical Ballads of 1798; the life and work of Wordsworth, Coleridge, Scott, Byron, Shelley, and Keats; (2) the Prose Writers: the novels of Scott; the development of literary criticism; the life and work of the essayists, Lamb, De Quincey, Landor, and of the novelist Jane Austen.

Selections for Reading. Manly's English Poetry and Manly's English Prose (each one vol.) contain good selections from all authors studied. Ward's English Poets (4 vols.), Craik's English Prose Selections (5 vols.), Braithwaite's The Book of Georgian Verse, Page's British Poets of the Nineteenth Century, and Garnett's English Prose from Elizabeth to Victoria, may also be used to advantage. Important works, however, should be read entire in one of the inexpensive school editions given below. (Full titles and publishers may be found in the General Bibliography⁴⁸⁸ at the end of this book.)

Wordsworth. Intimations of Immortality, Tintern Abbey, best lyrics and sonnets, in Selections, edited by Dowden (Athenaeum Press Series); selections and short poems, edited by M. Arnold, in Golden Treasury⁴⁸⁹ Series; Selections, also in Everyman's Library, Riverside Literature Series, Cassell's National Library, etc.

Coleridge. Ancient Mariner, edited by L. R. Gibbs, in Standard English Classics; same poem, in Pocket Classics, Eclectic English Classics, etc.; Poems, edited by J. M. Hart, in Athen?um Press (announced, 1909); Selections, Golden Book of Coleridge, in Everyman's Library; Selections from Coleridge and Campbell, in Riverside Literature; Prose Selections (Ginn and Company, also Holt); Lectures on Shakespeare, in Everyman's Library, Bohn's Standard Library, etc.

Scott. Lady of the Lake, Marmion, Ivanhoe, The Talisman, Guy Mannering, Quentin Durward. Numerous inexpensive editions of Scott's best poems and novels in Standard English Classics, Pocket Classics, Cassell's National Library, Eclectic English Classics, Everyman's Library, etc.; thus, Lady of the Lake, edited by Edwin Ginn, and Ivanhoe, edited by W. D. Lewis, both in Standard English Classics; Marmion, edited by G. B. Acton, and The Talisman, edited by F. Treudly, in Pocket Classics, etc.

Byron. Mazeppa and The Prisoner of Chillon, edited by S. M. Tucker, in Standard English Classics; short poems, Selections from Childe Harold, etc., in Canterbury Poets, Riverside Literature, Holt's English Readings, Pocket Classics, etc.

Shelley. To a Cloud, To a Skylark, West Wind, Sensitive Plant, Adonais, etc., all in Selections from Shelley, edited by Alexander, in Athen?um Press Series; Selections, edited by Woodberry, in Belles⁴⁹⁰ Lettres Series; Selections, also in Pocket Classics, Heath's English Classics, Golden Treasury Series, etc.

Keats. Ode on a Grecian Urn, Eve of St. Agnes, Hyperion, Lamia, To a Nightingale, etc., in Selections from Keats, in Athen?um Press; Selections also in Muses⁴⁹¹' Library, Riverside Literature, Golden Treasury Series, etc.

Lamb. Essays: Dream Children, Old China, Dissertation on Roast Pig, etc., edited by Wauchope, in Standard English Classics; various essays also in Camelot Series, Temple Classics, Everyman's Library, etc. Tales from Shakespeare, in Home and School Library (Ginn and Company); also in Riverside Literature, Pocket Classics, Golden Treasury, etc.

De Quincey. The English Mail-Coach and Joan of Arc, in Standard English Classics, etc.; Confessions of an English Opium-Eater, in Temple Classics, Morley's Universal Library, Everyman's Library, Pocket Classics, etc.; Selections, edited by M. H. Turk, in Athen?um Press; Selections, edited by B. Perry (Holt).

Landor. Selections, edited by W. Clymer, in Athen?um Press; Pericles and Aspasia, in Camelot Series; Imaginary Conversations, selected (Ginn and Company); the same, 2 vols., in Dutton's Universal Library; selected poems, in Canterbury Poets; selections, prose and verse, in Golden Treasury Series.

Jane Austen. Pride and Prejudice, in Everyman's Library, Pocket Classics, etc.

Bibliography.[234]

History. Text-book, Montgomery, pp. 323-357; Cheyney, 576-632. General Works. Green, X, 2-4, Traill, Gardiner, Macaulay, etc. Special Works. Cheyney's Industrial and Social History of England; Warner's Landmarks⁴⁹² of English Industrial History; Hassall's Making of the British Empire; Macaulay's William Pitt; Trevelyan's Early Life of Charles James Fox; Morley's Edmund Burke; Morris's Age of Queen Anne and the Early Hanoverians.

Literature. General Works. Mitchell, Courthope, Garnett and Gosse, Taine (see General Bibliography). Special Works. Beers's English Romanticism in the Nineteenth Century; A. Symons's The Romantic Movement in English Poetry; Dowden's The French Revolution and English Literature, also Studies in Literature, 1789-1877; Hancock's The French Revolution and the English Poets; Herford's The Age of Wordsworth (Handbooks of English Literature); Mrs. Oliphant's Literary History of England in the End of the Eighteenth and Beginning of the Nineteenth Centuries; Saintsbury's History of Nineteenth Century Literature; Masson's Wordsworth, Shelley, Keats, and Other Essays; Poets and Poetry of the Nineteenth Century, vols. 1-3; Gates's Studies and Appreciations; S. Brooke's Studies in Poetry; Rawnsley's Literary Associations of the English Lakes (2 vols.).

Wordsworth. Texts: Globe, Aldine, Cambridge editions, etc.; Poetical and Prose Works, with Dorothy Wordsworth's Journal, edited by Knight⁴²⁵, Eversley Edition (London and New York, 1896); Letters of the Wordsworth Family, edited by Knight, 3 vols. (Ginn and Company); Poetical Selections, edited by Dowden, in Athenaeum Press; various other selections, in Golden Treasury, etc.; Prose Selections, edited by Gayley (Ginn and Company). Life: Memoirs⁴⁹⁴, 2 vols., by Christopher Wordsworth; by Knight, 3 vols.; by Myers (English Men of Letters); by Elizabeth Wordsworth; Early Life (a Study of the Prelude) by E. Legouis, translated by J. Matthews; Raleigh's Wordsworth; N.C. Smith's Wordsworth's Literary Criticism; Rannie's Wordsworth and His Circle. Criticism: Herford's The Age of Wordsworth; Masson's Wordsworth, Shelley, and Keats; Magnus's Primer of Wordsworth; Wilson's Helps to the Study of Arnold's Wordsworth; Essays, by Lowell, in Among My Books; by M. Arnold, in Essays in Criticism; by Hutton, in Literary Essays; by L. Stephen, in Hours in a Library, and in Studies of a Biographer; by Bagehot, in Literary Studies; by Hazlitt, in The Spirit of the Age; by Pater, in Appreciations; by De Quincey, in Essays on the Poets; by Fields, in Yesterdays with Authors; by Shairp, in Studies in Poetry and Philosophy. See also Knight's Through the Wordsworth Country, and Rawnsley's Literary Associations of the English Lakes.

Coleridge. Texts: Complete Works, edited by Shedd, 7 vols. (New York 1884); Poems, Globe, Aldine, and Cambridge editions, in Athenaeum Press (announced, 1909), Muses' Library, Canterbury Poets, etc.; Biographia Literaria, in Everyman's Library; the same, in Clarendon Press; Prose Selections, Lectures on Shakespeare, etc. (see Selections for Reading, above); Letters, edited by E.H. Coleridge (London, 1895). Life: by J.D. Campbell; by Traill (English Men of Letters); by Dykes⁴⁹⁵; by Hall Caine (Great Writers Series); see also Coleridge's Biographia Literaria, and Lamb's essay, Christ's Hospital, in Essays of Elia. Criticism: Brandl's Coleridge and the English Romantic Movement. Essays, by Shairp, in Studies in Poetry and Philosophy; by Woodberry, in Makers⁴⁹⁶ of Literature; by J. Forster, in Great Teachers; by Dowden, in New Studies; by Swinburne, in Essays and Studies; by Brooke, in Theology in the English Poets; by Saintsbury, in Essays in English Literature; by Lowell in Democracy and Other Essays; by Hazlitt, and by Pater (see Wordsworth, above). See also Beers's English Romanticism; Carlyle's chapter on Coleridge, in Life of John Sterling⁴⁹⁷.

Southey. Texts: Poems, edited by Dowden (Macmillan); Poetical Works (Crowell); Selections in Canterbury Poets; Life of Nelson, in Everyman's Library, Temple Classics, Morley's Universal Library, etc. Life: by Dowden (English Men of Letters). Essays, by L. Stephen, in Studies of a Biographer; by Hazlitt and Saintsbury (see above).

Scott. Texts: Numerous good editions of novels and poems. For single works, see Selections for Reading, above. Life: by Lockhart, 5 vols. (several editions; best by Pollard, 1900); by Hutton (English Men of Letters); by A. Lang, in Literary Lives; by C. D. Yonge (Great Writers); by Hudson; by Saintsbury (Famous Scots Series). Criticism: Essays, by Stevenson, Gossip on Romance, in Memories and Portraits; by Shairp, in Aspects of Poetry; by Swinburne, in Studies in Prose and Poetry; by Carlyle, in Miscellaneous Essays; by Hazlitt, Bagehot, L. Stephen, Brooke, and Saintsbury (see Coleridge and Wordsworth, above).

Byron. Texts: Complete Works, Globe, Cambridge Poets, and Oxford editions; Selections, edited by M. Arnold, in Golden Treasury (see also Selections for Reading, above); Letters and Journals of Byron, edited by Moore (unreliable). Life: by Noel (Great Writers); by Nichol (English Men of Letters); The Real Lord Byron, by J. C. Jeaffreson; Trelawny's Recollections of Shelley and Byron. Criticism: Hunt's Lord Byron and His Contemporaries; Essays, by Morley, Macaulay, Hazlitt, Swinburne, and M. Arnold.

Shelley. Texts: Centenary Edition, edited by Woodberry, 4 vols.; Globe and Cambridge Poets editions; Essays and Letters, in Camelot Series (see Selections for Reading, above). Life: by Symonds (English Men of Letters); by Dowden, 2 vols.; by Sharp (Great Writers); by T. J. Hogg, 2 vols.; by W. M. Rossetti. Criticism: Salt's A Shelley Primer; Essays, by Dowden, in Transcripts⁴⁹⁸ and Studies; by M. Arnold, Woodberry, Bagehot, Forster, L. Stephen, Brooke, De Quincey, and Hutton (see Coleridge and Wordsworth, above).

Keats. Texts: Complete Works, edited by Forman, 4 vols. (London, 1883); Cambridge Poets Edition, with Letters, edited by H. E. Scudder (Houghton, Mifflin); Aldine Edition, with Life, edited by Lord Houghton (Macmillan); Selected Poems, with introduction and notes by Arlo Bates (Ginn and Company); Poems, also in Everyman's Library, Muses' Library, Golden Treasury, etc.; Letters, edited by S. Colvin, in Eversley Edition. Life: by Forman, in Complete Works; by Colvin (English Men of Letters); by W. M. Rossetti (Great Writers); by A. E. Hancock. Criticism: H. C. Shelley's Keats and His Circle; Masson's Wordsworth, Shelley, Keats, and Other Essays; Essays, by M. Arnold, in Essays in Criticism, also in Ward's English Poets, vol. 4; by Hudson, in Studies in Interpretation; by Lowell, in Among My Books, or Literary Essays, vol. 2; by Brooke, De Quincey, and Swinburne (above).

Lamb. Texts: Complete Works and Letters, edited by E. V. Lucas, 7 vols. (Putnam); the same, edited by Ainger, 6 vols. (London, 1883-1888); Essays of Elia, in Standard English Classics, etc. (see Selections for Reading); Dramatic Essays, edited by B. Matthews (Dodd, Mead); Specimens of English Dramatic Poets, in Bohn's Library. Life: by E. V. Lucas, 2 vols.; by Ainger (English Men of Letters); by Barry Cornwall; Talfourd's Memoirs of Charles Lamb. Criticism: Essays, by De Quincey, in Biographical Essays; by F. Harrison, in Tennyson, Ruskin, Mill, and Other Literary Estimates; by Pater, and Woodberry (see Wordsworth and Coleridge, above). See also Fitzgerald's Charles Lamb, his Friends, his Haunts, and his Books.

De Quincey. Texts: Collected Writings, edited by Masson, 14 vols. (London, 1889-1891); Confessions of an Opium-Eater, etc. (see Selections for Reading). Life: by Masson (English Men of Letters); Life and Writings, by H. A. Page, 2 vols.; Hogg's De Quincey and his Friends; Findlay's Personal Recollections of De Quincey; see also De Quincey's Autobiographical Sketches, and Confessions. Criticism: Essays, by Saintsbury, in Essays in English Literature; by Masson, in Wordsworth, Shelley, Keats, and Other Essays; by L. Stephen, in Hours in a Library. See also Minto's Manual of English Prose Literature.

Landor. Texts: Works, with Life by Forster, 8 vols. (London, 1876); Works, edited by Crump (London, 1897); Letters, etc., edited by Wheeler (London, 1897 and 1899); Imaginary Conversations, etc. (see Selections for Reading). Life: by Colvin (English Men of Letters); by Forster. Criticism: Essays, by De Quincey, Woodberry, L. Stephen, Saintsbury, Swinburne, Dow-den (see above). See also Stedman's Victorian Poets.

Jane Austen. Texts: Works, edited by R. B. Johnson (Dent); various other editions of novels; Letters, edited by Woolsey (Roberts). Life: Austen-Leigh's Memoir⁴⁹³ of Jane Austen; Hill's Jane Austen, her Home and her Friends; Mitton's Jane Austen and her Times. Life, by Goldwin Smith; by Maiden (Famous Women Series); by O. F. Adams. Criticism: Pollock's Jane Austen; Pellew's Jane Austen's Novels; A. A. Jack's Essay on the Novel as Illustrated⁴⁹⁹ by Scott and Miss Austen; H. H. Bonnell's Charlotte Bront?, George Eliot, and Jane Austen; Essay, by Howells, in Heroines of Fiction.

Maria Edgeworth. Texts: Tales and Novels, New Langford Edition, 10 vols. (London, 1893) various editions of novels (Dent, etc.); The Absentee, and Castle Rackrent, in Morley's Universal Library. Life: by Helen Zimmerman; Memoir, by Hare.

Mrs. Anne Radclife. Romances, with introduction by Scott, in Ballantynes' Novelists Library (London, 1824); various editions of Udolpho, etc.; Saintsbury's Tales of Mystery, vol. i. See Beers's English Romanticism.

Moore. Poetical Works, in Canterbury Poets, Chandos Classics, etc.; Selected poems, in Golden Treasury; Gunning's Thomas Moore, Poet and Patriot²¹; Symington's Life and Works of Moore. Essay, by Saintsbury.

Campbell. Poems, Aldine edition; Selections, in Golden Treasury. Life, by Hadden.

Hazlitt. Texts: Works, edited by Henley, 12 vols. (London, 1902); Selected Essays, in Temple Classics, Camelot Series, etc. Life: by Birrell (English Men of Letters); Memoirs, by W. C. Hazlitt. Essays, by Saintsbury; by L. Stephen.

Leigh Hunt. Texts: Selected essays, in Camelot Series, also in Cavendish Library (Warne); Stories from the Italian Poets (Putnam). Life: by Monkhouse (Great Writers). Essays, by Macaulay; by Saintsbury; by Hazlitt. See also Mrs. Field's A Shelf of Old Books.

Suggestive Questions. (NOTE. In a period like the Age of Romanticism, the poems and essays chosen for special study vary so widely that only a few general questions on the selections for reading are attempted.)

1. Why is this period of Romanticism (1789-1837) called the Age of Revolution? Give some reasons for the influence of the French Revolution on English literature, and illustrate from poems or essays which you have read. Explain the difference between Classicism and Romanticism. Which of these two types of literature do you prefer?

2. What are the general characteristics of the literature of this period? What two opposing tendencies are illustrated in the novels of Scott and Jane Austen? in the poetry of Byron and Wordsworth?

3. Wordsworth. Tell briefly⁵⁰⁰ the story of Wordsworth's life, and name some of his best poems. Why do the Lyrical Ballads (1798) mark an important literary epoch⁵⁰¹? Read carefully, and make an analysis of the "Intimations of Immortality"; of "Tintern Abbey." Can you explain what political conditions are referred to in Wordsworth's "Sonnet on Milton"? in his "French Revolution"? Does he attempt to paint a picture in his sonnet on Westminster Bridge, or has he some other object in view? What is the central teaching of the "Ode to Duty"? Compare Wordsworth's two Skylark poems with Shelley's. Make a brief comparison between Wordsworth's sonnets and those of Shakespeare and of Milton, having in mind the thought, the melody, the view of nature, and the imagery of the three poets. Quote from Wordsworth's poems to show his belief that nature is conscious; to show the influence of nature on man; to show his interest in children; his sensitiveness to sounds; to illustrate the chastening influence of sorrow. Make a brief comparison between the characters of Wordsworth's "Michael" and of Burns's "The Cotter's Saturday Night." Compare Wordsworth's point of view and method, in the three poems "To a Daisy," with Burns's view, as expressed in his famous lines on the same subject.

4. Coleridge. What are the general characteristics of Coleridge's life? What explains the profound sympathy for humanity that is reflected in his poems? For what, beside his poems, is he remarkable? Can you quote any passages from his poetry which show, the influence of Wordsworth? What are the characters in "The Ancient Mariner"? In what respect is this poem romantic? Give your own reasons for its popularity. Does the thought or the style of this poem impress you? If you have read any of the Lectures on Shakespeare, explain why Coleridge's work is called romantic criticism.

5. Scott. Tell the story of Scott's life, and name his chief poems and novels. Do you recall any passage from his poetry which suggests his own heroism? Why was he called "the wizard of the North"? What is the general character of his poetry? Compare Marmion with one of the old ballads, having in mind the characters, the dramatic interest of the story, and the style of writing. In what sense is he the creator of the historical novel? Upon what does he depend to hold the reader's attention? Compare him, in this respect, with Jane Austen. Which of his characters impress you as being the most lifelike? Name any novels of the present day which copy Scott or show his influence. Read Ivanhoe and the Lady of the Lake; make a brief analysis of each work, having in mind the style, the plot, the dramatic interest, the use of adventure, and the truth to nature of the different characters.

6. Byron. Why is Byron called the revolutionary poet? (Illustrate, if possible, from his poetry.) What is the general character of his work? In what kind of poetry does he excel? (Quote from Childe Harold to illustrate your opinion.) Describe the typical Byronic hero. Can you explain his great popularity at first, and his subsequent loss of influence? Why is he still popular on the Continent? Do you find more of thought or of emotion in his poetry? Compare him, in this respect, with Shelley; with Wordsworth. Which is the more brilliant writer, Byron or Wordsworth? Which has the more humor? Which has the healthier mind? Which has the higher ideal of poetry? Which is the more inspiring and helpful? Is it fair to say that Byron's quality is power, not charm?

7. Shelley. What are the chief characteristics of Shelley's poetry? Is it most remarkable for its thought, form, or imagery? What poems show the influence of the French Revolution? What subjects are considered in "Lines written among the Euganean Hills"? What does Shelley try to teach in "The Sensitive Plant"? Compare Shelley's view of nature, as reflected in "The Cloud" or "The West Wind," with Wordsworth's view, as reflected in "The Prelude," "Tintern Abbey," "Daffodils," etc. To what class of poems does "Adonais" belong? What is the subject of the poem? Name others of the same class. How does Shelley describe himself in this poem? Compare Shelley's "Adonais" and Milton's "Lycidas" with regard to the view of life after death as expressed in the poems. What kinds of scenes does Shelley like best to describe? Compare his characters with those of Wordsworth; of Byron. Do you recall any poems in which he writes of ordinary people or of ordinary experiences?

8. Keats. What is the essence of Keats's poetical creed, as expressed in the "Ode on a Grecian Urn"? What are the remarkable elements in his life and work? What striking difference do you find between his early poems and those of Shelley and Byron? What are the chief subjects of his verse? What poems show the influence of the classics? of Elizabethan literature? Can you explain why his work has been called literary poetry? Keats and Shelley are generally classed together. What similarities do you find in their poems? Give some reasons why Keats introduces the old Bedesman in "The Eve of Saint Agnes." Name some of the literary friends mentioned in Keats's poetry.

Compare Keats's characters with those of Wordsworth; of Byron. Does Keats ever remind you of Spenser? In what respects? Is your personal preference for Wordsworth, Byron, Shelley, or Keats? Why?

9. Lamb. Tell briefly the story of Lamb's life and name his principal works. Why is he called the most human of essayists? His friends called him "the last of the Elizabethans." Why? What is the general character of the Essays of Elia? How is the personality of Lamb shown in all these essays? Cite any passages showing Lamb's skill in portraying people. Make a brief comparison between Lamb and Addison, having in mind the subjects treated, the style, the humor, and the interest of both essayists. Which do you prefer, and why?

10. De Quincey. What are the general characteristics of De Quincey's essays? Explain why he is called the psychologist of style. What accounts for a certain unreal element in all his work. Read a passage from The English Mail-Coach, or from Joan of Arc, or from Levana, Our Lady of Sorrows, and comment freely upon it, with regard to style, ideas, interest, and the impression of reality or unreality which it leaves.

11. Landor. In what respect does Landor show a reaction from Romanticism? What qualities make Landor's poems stand out so clearly in the memory? Why, for instance, do you think Lamb was so haunted by "Rose Aylmer"? Quote from Landor's poems to illustrate his tenderness, his sensitiveness to beauty, his power of awakening emotion, his delicacy⁵⁰² of characterization. Do you find the same qualities in his prose? Can you explain why much of his prose seems like a translation from the Greek? Compare a passage from the Imaginary Conversations with a passage from Gibbon or Johnson, to show the difference between the classic and the pseudo-classic style. Compare one of Landor's characters, in Imaginary Conversations, with the same character in history.

12. Jane Austen. How does Jane Austen show a reaction from Romanticism? What important work did she do for the novel? To what kind of fiction was her work opposed? In what does the charm of her novels consist? Make a brief comparison between Jane Austen and Scott (as illustrated in Pride and Prejudice and Ivanhoe), having in mind the subject, the characters, the manner of treatment, and the interest of both narratives. Do Jane Austen's characters have to be explained by the author, or do they explain themselves? Which method calls for the greater literary skill? What does Jane Austen say about Mrs. Radcliffe, in Northanger Abbey? Does she make any other observations on eighteenth-century novelists?
CHRONOLOGY
End of the Eighteenth and Beginning of the Nineteenth Century
HISTORY     LITERATURE
1760-1820.     George III
        1770-1850.     Wordsworth
        1771-1832.     Scott
1789-1799.     French Revolution
        1796-1816.     Jane Austen's novels
        1798.     Lyrical Balads of Wordsworth
            and Coleridge
1800.     union of Great Britain and
    Ireland
1802.     Colonization⁵⁰³ of Australia     1802.     Scotts Minstrelsy of the Scottish
            Border
1805.     Battle of Trafalgar     1805-1817.     Scotts poems
        1807.     Wordsworth's Intimations of
1807.     Abolition of slave trade         Immortality. Lamb's Tales
            from Shakespeare
1808-1814.     Peninsular War
        1809-1818.     Byron's Childe Harold
1812.     Second war with United States     1810-1813.     Coleridge's Lectures on
            Shakespeare
1814.     Congress of Vienna     1814-1831.     Waverley Novels
1815.     Battle of Waterloo
        1816.     Shelley's Alastor
        1817.     Coleridge's Biographia Literaria
        1817-1820.     Keats's poems
        1818-1820.     Shelley's Prometheus
1819.     First Atlantic steamship⁵⁰⁴
1820.     George IV (d. 1830)     1820.     Wordsworth's Duddon Sonnets
        1820-1833.     Lamb's Essays of Elia
        1821.     De Quincey's Confessions
        1824-1846.     Landor's Imaginary Conversations.
1826.     First Temperance Society
1829.     Catholic Emancipation Bill
1830.     William IV (d. 1837)     1830.     Tennyson's first poems
    First railway
        1831.     Scott's last novel
1832.     Reform Bill
1833.     Emancipation of slaves     1833.     Carlyle's Sartor Resartus
            Browning's Pauline
1834.     System of national education
1837.     Victoria (d. 1901)
        1853-1861.     De Quincey's Collected
            Essays

1 energizing   

v.给予…精力，能量( energize的现在分词 )；使通电

参考例句：

• a refreshing and energizing fruit drink 提神并增加体能的果汁饮料
• The time required after energizing a device, before its rated output characteristics begin to apply. 从设备通电到它开始提供额定输出特性之间所需的时间。 来自辞典例句

2 den   

n.兽穴；秘密地方；安静的小房间，私室

参考例句：

• There is a big fox den on the back hill.后山有一个很大的狐狸窝。
• The only way to catch tiger cubs is to go into tiger's den.不入虎穴焉得虎子。

3 mighty   

adj.强有力的；巨大的

参考例句：

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

4 upheaval   

n.胀起，(地壳)的隆起；剧变，动乱

参考例句：

• It was faced with the greatest social upheaval since World War Ⅱ.它面临第二次世界大战以来最大的社会动乱。
• The country has been thrown into an upheaval.这个国家已经陷入动乱之中。

5 upheavals   

突然的巨变( upheaval的名词复数 )； 大动荡； 大变动； 胀起

参考例句：

• the latest upheavals in the education system 最近教育制度上的种种变更
• These political upheavals might well destroy the whole framework of society. 这些政治动乱很可能会破坏整个社会结构。

6 rev   

v.发动机旋转，加快速度

参考例句：

• It's his job to rev up the audience before the show starts.他要负责在表演开始前鼓动观众的热情。
• Don't rev the engine so hard.别让发动机转得太快。

7 intelligible   

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。

8 commonwealth   

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。

9 inevitable   

adj.不可避免的，必然发生的

参考例句：

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

10 civilized   

a.有教养的，文雅的

参考例句：

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

11 dame   

n.女士

参考例句：

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

12 steadily   

adv.稳定地；不变地；持续地

参考例句：

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

13 urn   

n.（有座脚的）瓮；坟墓；骨灰瓮

参考例句：

• The urn was unearthed entire.这只瓮出土完整无缺。
• She put the big hot coffee urn on the table and plugged it in.她将大咖啡壶放在桌子上,接上电源。

14 passionate   

adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的

参考例句：

• He is said to be the most passionate man.据说他是最有激情的人。
• He is very passionate about the project.他对那个项目非常热心。

15 determined   

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。

16 reign   

n.统治时期，统治，支配，盛行；v.占优势

参考例句：

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

17 turmoil   

n.骚乱，混乱，动乱

参考例句：

• His mind was in such a turmoil that he couldn't get to sleep.内心的纷扰使他无法入睡。
• The robbery put the village in a turmoil.抢劫使全村陷入混乱。

18 frightful   

adj.可怕的；讨厌的

参考例句：

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

19 abolition   

n.废除，取消

参考例句：

• They declared for the abolition of slavery.他们声明赞成废除奴隶制度。
• The abolition of the monarchy was part of their price.废除君主制是他们的其中一部分条件。

20 patriotic   

adj.爱国的，有爱国心的

参考例句：

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

21 patriot   

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。

22 doctrine   

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。

23 isle   

n.小岛，岛

参考例句：

• He is from the Isle of Man in the Irish Sea.他来自爱尔兰海的马恩岛。
• The boat left for the paradise isle of Bali.小船驶向天堂一般的巴厘岛。

24 blessing   

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。

25 zeal   

n.热心，热情，热忱

参考例句：

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

26 perversion   

n.曲解；堕落；反常

参考例句：

• In its most general sense,corruption means the perversion or abandonment.就其最一般的意义上说，舞弊就是堕落，就是背离准则。
• Her account was a perversion of the truth.她所讲的歪曲了事实。

27 machinery   

n.(总称)机械，机器；机构

参考例句：

• Has the machinery been put up ready for the broadcast?广播器材安装完毕了吗？
• Machinery ought to be well maintained all the time.机器应该随时注意维护。

28 laboring   

n.劳动，操劳v.努力争取(for)( labor的现在分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转

参考例句：

• The young man who said laboring was beneath his dignity finally put his pride in his pocket and got a job as a kitchen porter. 那个说过干活儿有失其身份的年轻人最终只能忍辱，做了厨房搬运工的工作。 来自《简明英汉词典》
• But this knowledge did not keep them from laboring to save him. 然而，这并不妨碍她们尽力挽救他。 来自飘（部分）

29 labor   

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

参考例句：

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

30 laborers   

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

31 riotous   

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。

32 unbearable   

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。

33 unnatural   

adj.不自然的；反常的

参考例句：

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

34 worthy   

adj.(of)值得的，配得上的；有价值的

参考例句：

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

35 lyric   

n.抒情诗，歌词；adj.抒情的

参考例句：

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

36 lame   

adj.跛的，(辩解、论据等)无说服力的

参考例句：

• The lame man needs a stick when he walks.那跛脚男子走路时需借助拐棍。
• I don't believe his story.It'sounds a bit lame.我不信他讲的那一套。他的话听起来有些靠不住。

37 kindled   

（使某物）燃烧，着火( kindle的过去式和过去分词 )； 激起（感情等）； 发亮，放光

参考例句：

• We watched as the fire slowly kindled. 我们看着火慢慢地燃烧起来。
• The teacher's praise kindled a spark of hope inside her. 老师的赞扬激起了她内心的希望。

38 continental   

adj.大陆的，大陆性的，欧洲大陆的

参考例句：

• A continental climate is different from an insular one.大陆性气候不同于岛屿气候。
• The most ancient parts of the continental crust are 4000 million years old.大陆地壳最古老的部分有40亿年历史。

39 overthrow   

v.推翻，打倒，颠覆；n.推翻，瓦解，颠覆

参考例句：

• After the overthrow of the government,the country was in chaos.政府被推翻后，这个国家处于混乱中。
• The overthrow of his plans left him much discouraged.他的计划的失败使得他很气馁。

40 debtors   

n.债务人，借方( debtor的名词复数 )

参考例句：

• Creditors could obtain a writ for the arrest of their debtors. 债权人可以获得逮捕债务人的令状。 来自《简明英汉词典》
• Never in a debtors' prison? 从没有因债务坐过牢么？ 来自英汉文学 - 双城记

41 hood   

n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖

参考例句：

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

42 suffrage   

n.投票，选举权，参政权

参考例句：

• The question of woman suffrage sets them at variance.妇女参政的问题使他们发生争执。
• The voters gave their suffrage to him.投票人都投票选他。

43 restrictions   

约束( restriction的名词复数 )； 管制； 制约因素； 带限制性的条件（或规则）

参考例句：

• I found the restrictions irksome. 我对那些限制感到很烦。
• a snaggle of restrictions 杂乱无章的种种限制

44 emancipation   

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》

45 ridge   

n.山脊；鼻梁；分水岭

参考例句：

• We clambered up the hillside to the ridge above.我们沿着山坡费力地爬上了山脊。
• The infantry were advancing to attack the ridge.步兵部队正在向前挺进攻打山脊。

46 crumbling   

adj.摇摇欲坠的

参考例句：

• an old house with crumbling plaster and a leaking roof 一所灰泥剥落、屋顶漏水的老房子
• The boat was tied up alongside a crumbling limestone jetty. 这条船停泊在一个摇摇欲坠的石灰岩码头边。

47 bliss   

n.狂喜，福佑，天赐的福

参考例句：

• It's sheer bliss to be able to spend the day in bed.整天都可以躺在床上真是幸福。
• He's in bliss that he's won the Nobel Prize.他非常高兴，因为获得了诺贝尔奖金。

48 noted   

adj.著名的，知名的

参考例句：

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

49 opposition   

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。

50 mariner   

n.水手号不载人航天探测器，海员，航海者

参考例句：

• A smooth sea never made a skillful mariner.平静的大海决不能造就熟练的水手。
• A mariner must have his eye upon rocks and sands as well as upon the North Star.海员不仅要盯着北极星，还要注意暗礁和险滩。

51 populous   

adj.人口稠密的，人口众多的

参考例句：

• London is the most populous area of Britain.伦敦是英国人口最稠密的地区。
• China is the most populous developing country in the world.中国是世界上人口最多的发展中国家。

52 brooks   

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》

53 enthusiast   

n.热心人，热衷者

参考例句：

• He is an enthusiast about politics.他是个热衷于政治的人。
• He was an enthusiast and loved to evoke enthusiasm in others.他是一个激情昂扬的人，也热中于唤起他人心中的激情。

54 enthusiasts   

n.热心人，热衷者( enthusiast的名词复数 )

参考例句：

• A group of enthusiasts have undertaken the reconstruction of a steam locomotive. 一群火车迷已担负起重造蒸汽机车的任务。 来自《简明英汉词典》
• Now a group of enthusiasts are going to have the plane restored. 一群热心人计划修复这架飞机。 来自新概念英语第二册

55 attained   

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

参考例句：

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

56 satiric   

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。

57 hysterical   

adj.情绪异常激动的，歇斯底里般的

参考例句：

• He is hysterical at the sight of the photo.他一看到那张照片就异常激动。
• His hysterical laughter made everybody stunned.他那歇斯底里的笑声使所有的人不知所措。

58 bogey   

n.令人谈之变色之物；妖怪，幽灵

参考例句：

• The universal bogey is AIDS.艾滋病是所有人唯恐避之不及的东西。
• Age is another bogey for actresses.年龄是另一个让女演员头疼的问题。

59 medley   

n.混合

参考例句：

• Today's sports meeting doesn't seem to include medley relay swimming.现在的运动会好象还没有混合接力泳这个比赛项目。
• China won the Men's 200 metres Individual Medley.中国赢得了男子200米个人混合泳比赛。

60 extravagant   

adj.奢侈的；过分的；(言行等)放肆的

参考例句：

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

61 lasting   

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。

62 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

63 fully   

adv.完全地，全部地，彻底地；充分地

参考例句：

• The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。
• They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

64 retired   

adj.隐退的，退休的，退役的

参考例句：

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

65 helping   

n.食物的一份&adj.帮助人的，辅助的

参考例句：

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

66 ballads   

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。

67 ballad   

n.歌谣，民谣，流行爱情歌曲

参考例句：

• This poem has the distinctive flavour of a ballad.这首诗有民歌风味。
• This is a romantic ballad that is pure corn.这是一首极为伤感的浪漫小曲。

68 partnership   

n.合作关系，伙伴关系

参考例句：

• The company has gone into partnership with Swiss Bank Corporation.这家公司已经和瑞士银行公司建立合作关系。
• Martin has taken him into general partnership in his company.马丁已让他成为公司的普通合伙人。

69 awaken   

vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起

参考例句：

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

70 awakening   

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。

71 ken   

n.视野，知识领域

参考例句：

• Such things are beyond my ken.我可不懂这些事。
• Abstract words are beyond the ken of children.抽象的言辞超出小孩所理解的范围.

72 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

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

73 rime   

n.白霜；v.使蒙霜

参考例句：

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

74 poetical   

adj.似诗人的；诗一般的；韵文的；富有诗意的

参考例句：

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

75 poetic   

adj.富有诗意的，有诗人气质的，善于抒情的

参考例句：

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

76 creed   

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。

77 raptures   

极度欢喜( rapture的名词复数 )

参考例句：

• Her heart melted away in secret raptures. 她暗自高兴得心花怒放。
• The mere thought of his bride moves Pinkerton to raptures. 一想起新娘，平克顿不禁心花怒放。

78 prelude   

n.序言，前兆，序曲

参考例句：

• The prelude to the musical composition is very long.这首乐曲的序曲很长。
• The German invasion of Poland was a prelude to World War II.德国入侵波兰是第二次世界大战的序幕。

79 uncertainty   

n.易变，靠不住，不确知，不确定的事物

参考例句：

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

80 retirement   

n.退休，退职

参考例句：

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

81 murmurs   

n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕

参考例句：

• They spoke in low murmurs. 他们低声说着话。 来自辞典例句
• They are more superficial, more distinctly heard than murmurs. 它们听起来比心脏杂音更为浅表而清楚。 来自辞典例句

82 alder   

n.赤杨树

参考例句：

• He gave john some alder bark.他给了约翰一些桤木树皮。
• Several coppice plantations have been seeded with poplar,willow,and alder.好几个灌木林场都种上了白杨、柳树和赤杨。

83 moody   

adj.心情不稳的，易怒的，喜怒无常的

参考例句：

• He relapsed into a moody silence.他又重新陷于忧郁的沉默中。
• I'd never marry that girl.She's so moody.我决不会和那女孩结婚的。她太易怒了。

84 earnings   

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%。

85 orphan   

n.孤儿；adj.无父母的

参考例句：

• He brought up the orphan and passed onto him his knowledge of medicine.他把一个孤儿养大，并且把自己的医术传给了他。
• The orphan had been reared in a convent by some good sisters.这个孤儿在一所修道院里被几个好心的修女带大。

86 apparently   

adv.显然地；表面上，似乎

参考例句：

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

87 delightfully   

大喜，欣然

参考例句：

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

88 delightful   

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。

89 basking   

v.晒太阳，取暖( bask的现在分词 )；对…感到乐趣；因他人的功绩而出名；仰仗…的余泽

参考例句：

• We sat basking in the warm sunshine. 我们坐着享受温暖的阳光。
• A colony of seals lay basking in the sun. 一群海豹躺着晒太阳。 来自《简明英汉词典》

90 snares   

n.陷阱( snare的名词复数 )；圈套；诱人遭受失败（丢脸、损失等）的东西；诱惑物v.用罗网捕捉，诱陷，陷害( snare的第三人称单数 )

参考例句：

• He shoots rabbits and he sets snares for them. 他射杀兔子，也安放陷阱。 来自《简明英汉词典》
• I am myself fallen unawares into the snares of death. 我自己不知不觉跌进了死神的陷阱。 来自辞典例句

91 solitary   

adj.孤独的，独立的，荒凉的；n.隐士

参考例句：

• I am rather fond of a solitary stroll in the country.我颇喜欢在乡间独自徜徉。
• The castle rises in solitary splendour on the fringe of the desert.这座城堡巍然耸立在沙漠的边际，显得十分壮美。

92 fissures   

n.狭长裂缝或裂隙( fissure的名词复数 )；裂伤；分歧；分裂v.裂开( fissure的第三人称单数 )

参考例句：

• Rising molten rock flows out on the ocean floor and caps the fissures, trapping the water. 上升熔岩流到海底并堵住了裂隙，结果把海水封在里面。 来自辞典例句
• The French have held two colloquia and an international symposium on rock fissures. 法国已经开了两次岩石裂缝方面的报告会和一个国际会议。 来自辞典例句

93 perilous   

adj.危险的，冒险的

参考例句：

• The journey through the jungle was perilous.穿过丛林的旅行充满了危险。
• We have been carried in safety through a perilous crisis.历经一连串危机，我们如今已安然无恙。

94 utterance   

n.用言语表达，话语，言语

参考例句：

• This utterance of his was greeted with bursts of uproarious laughter.他的讲话引起阵阵哄然大笑。
• My voice cleaves to my throat,and sob chokes my utterance.我的噪子哽咽，泣不成声。

95 abounding   

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

参考例句：

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

96 rosy   

adj.美好的，乐观的，玫瑰色的

参考例句：

• She got a new job and her life looks rosy.她找到一份新工作，生活看上去很美好。
• She always takes a rosy view of life.她总是对生活持乐观态度。

97 Oxford   

n.牛津（英国城市）

参考例句：

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

98 placid   

adj.安静的，平和的

参考例句：

• He had been leading a placid life for the past eight years.八年来他一直过着平静的生活。
• You should be in a placid mood and have a heart-to- heart talk with her.你应该心平气和的好好和她谈谈心。

99 lavish   

adj.无节制的；浪费的；vt.慷慨地给予，挥霍

参考例句：

• He despised people who were lavish with their praises.他看不起那些阿谀奉承的人。
• The sets and costumes are lavish.布景和服装极尽奢华。

100 tyrant   

n.暴君，专制的君主，残暴的人

参考例句：

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

101 tyrants   

专制统治者( tyrant的名词复数 )； 暴君似的人； （古希腊的）僭主； 严酷的事物

参考例句：

• The country was ruled by a succession of tyrants. 这个国家接连遭受暴君的统治。
• The people suffered under foreign tyrants. 人民在异族暴君的统治下受苦受难。

102 censure   

v./n.责备；非难；责难

参考例句：

• You must not censure him until you know the whole story.在弄清全部事实真相前不要谴责他。
• His dishonest behaviour came under severe censure.他的不诚实行为受到了严厉指责。

103 spoke   

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。

104 contradictory   

adj.反驳的，反对的，抗辩的；n.正反对，矛盾对立

参考例句：

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

105 precepts   

n.规诫，戒律，箴言( precept的名词复数 )

参考例句：

• They accept the Prophet's precepts but reject some of his strictures. 他们接受先知的教训，但拒绝他的种种约束。 来自《现代英汉综合大词典》
• The legal philosopher's concern is to ascertain the true nature of all the precepts and norms. 法哲学家的兴趣在于探寻所有规范和准则的性质。 来自辞典例句

106 ministry   

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。

107 prospect   

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。

108 providence   

n.深谋远虑，天道，天意；远见；节约；上帝

参考例句：

• It is tempting Providence to go in that old boat.乘那艘旧船前往是冒大险。
• To act as you have done is to fly in the face of Providence.照你的所作所为那样去行事，是违背上帝的意志的。

109 pointed   

adj.尖的，直截了当的

参考例句：

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

110 steadfast   

adj.固定的，不变的，不动摇的；忠实的；坚贞不移的

参考例句：

• Her steadfast belief never left her for one moment.她坚定的信仰从未动摇过。
• He succeeded in his studies by dint of steadfast application.由于坚持不懈的努力他获得了学业上的成功。

111 tardy   

adj.缓慢的，迟缓的

参考例句：

• It's impolite to make a tardy appearance.晚到是不礼貌的。
• The boss is unsatisfied with the tardy tempo.老板不满于这种缓慢的进度。

112 ridiculed   

v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 )

参考例句：

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

113 ridicule   

v.讥讽，挖苦；n.嘲弄

参考例句：

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

114 judgment   

n.审判；判断力，识别力，看法，意见

参考例句：

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

115 impatience   

n.不耐烦，急躁

参考例句：

• He expressed impatience at the slow rate of progress.进展缓慢，他显得不耐烦。
• He gave a stamp of impatience.他不耐烦地跺脚。

116 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

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

117 inclination   

n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好

参考例句：

• She greeted us with a slight inclination of the head.她微微点头向我们致意。
• I did not feel the slightest inclination to hurry.我没有丝毫着急的意思。

118 tranquilly   

adv. 宁静地

参考例句：

• He took up his brush and went tranquilly to work. 他拿起刷子，一声不响地干了起来。
• The evening was closing down tranquilly. 暮色正在静悄悄地笼罩下来。

119 quaint   

adj.古雅的，离奇有趣的，奇怪的

参考例句：

• There were many small lanes in the quaint village.在这古香古色的村庄里，有很多小巷。
• They still keep some quaint old customs.他们仍然保留着一些稀奇古怪的旧风俗。

120 inadequate   

adj.(for,to)不充足的，不适当的

参考例句：

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

121 appreciation   

n.评价；欣赏；感谢；领会，理解；价格上涨

参考例句：

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

122 portraying   

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

123 intensity   

n.强烈，剧烈；强度；烈度

参考例句：

• I didn't realize the intensity of people's feelings on this issue.我没有意识到这一问题能引起群情激奋。
• The strike is growing in intensity.罢工日益加剧。

124 melodious   

adj.旋律美妙的，调子优美的，音乐性的

参考例句：

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

125 graceful   

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。

126 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

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

127 absurdity   

n.荒谬，愚蠢；谬论

参考例句：

• The proposal borders upon the absurdity.这提议近乎荒谬。
• The absurdity of the situation made everyone laugh.情况的荒谬可笑使每个人都笑了。

128 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

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

129 barometer   

n.气压表，睛雨表，反应指标

参考例句：

• The barometer marked a continuing fall in atmospheric pressure.气压表表明气压在继续下降。
• The arrow on the barometer was pointing to"stormy".气压计上的箭头指向“有暴风雨”。

130 harp   

n.竖琴；天琴座

参考例句：

• She swept her fingers over the strings of the harp.她用手指划过竖琴的琴弦。
• He played an Irish melody on the harp.他用竖琴演奏了一首爱尔兰曲调。

131 cataract   

n.大瀑布，奔流，洪水，白内障

参考例句：

• He is an elderly gentleman who had had a cataract operation.他是一位曾经动过白内障手术的老人。
• The way is blocked by the tall cataract.高悬的大瀑布挡住了去路。

132 truthful   

adj.真实的，说实话的，诚实的

参考例句：

• You can count on him for a truthful report of the accident.你放心，他会对事故作出如实的报告的。
• I don't think you are being entirely truthful.我认为你并没全讲真话。

133 truthfulness   

n. 符合实际

参考例句：

• Among her many virtues are loyalty, courage, and truthfulness. 她有许多的美德，如忠诚、勇敢和诚实。
• I fired a hundred questions concerning the truthfulness of his statement. 我对他发言的真实性提出一连串质问。

134 accurately   

adv.准确地，精确地

参考例句：

• It is hard to hit the ball accurately.准确地击中球很难。
• Now scientists can forecast the weather accurately.现在科学家们能准确地预报天气。

135 penetrate   

v.透(渗)入；刺入，刺穿；洞察，了解

参考例句：

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

136 penetrates   

v.穿过( penetrate的第三人称单数 )；刺入；了解；渗透

参考例句：

• This is a telescope that penetrates to the remote parts of the universe. 这是一架能看到宇宙中遥远地方的望远镜。 来自《简明英汉词典》
• The dust is so fine that it easily penetrates all the buildings. 尘土极细，能极轻易地钻入一切建筑物。 来自辞典例句

137 specify   

vt.指定，详细说明

参考例句：

• We should specify a time and a place for the meeting.我们应指定会议的时间和地点。
• Please specify what you will do.请你详述一下你将做什么。

138 vapor   

n.蒸汽，雾气

参考例句：

• The cold wind condenses vapor into rain.冷风使水蒸气凝结成雨。
• This new machine sometimes transpires a lot of hot vapor.这部机器有时排出大量的热气。

139 glorified   

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。

140 sentient   

adj.有知觉的，知悉的；adv.有感觉能力地

参考例句：

• The living knew themselves just sentient puppets on God's stage.生还者认识到，他们不过是上帝的舞台上有知觉的木偶而已。
• It teaches us to love all sentient beings equally.它教导我们应该平等爱护一切众生。

141 sop   

n.湿透的东西，懦夫；v.浸，泡，浸湿

参考例句：

• I used a mop to sop up the spilled water.我用拖把把泼出的水擦干。
• The playground was a mere sop.操场很湿。

142 awakens   

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

143 doctrines   

n.教条( doctrine的名词复数 )；教义；学说；（政府政策的）正式声明

参考例句：

• To modern eyes, such doctrines appear harsh, even cruel. 从现代的角度看，这样的教义显得苛刻，甚至残酷。 来自《简明英汉词典》
• His doctrines have seduced many into error. 他的学说把许多人诱入歧途。 来自《现代汉英综合大词典》

144 epitome   

n.典型，梗概

参考例句：

• He is the epitome of goodness.他是善良的典范。
• This handbook is a neat epitome of everyday hygiene.这本手册概括了日常卫生的要点。

145 immortal   

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！

146 immortality   

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。

147 glorifies   

赞美( glorify的第三人称单数 )； 颂扬； 美化； 使光荣

参考例句：

• He denies that the movie glorifies violence. 他否认这部影片美化暴力。
• This magazine in no way glorifies gangs. 这本杂志绝对没有美化混混们。

148 pervert   

n.堕落者，反常者；vt.误用，滥用；使人堕落，使入邪路

参考例句：

• Reading such silly stories will pervert your taste for good books.读这种愚昧的故事会败坏你对好书的嗜好。
• Do not pervert the idea.别歪曲那想法。

149 tiresome   

adj.令人疲劳的，令人厌倦的

参考例句：

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

150 fragrance   

n.芬芳，香味，香气

参考例句：

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

151 labors   

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

152 revival   

n.复兴，复苏，（精力、活力等的）重振

参考例句：

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

153 highland   

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。

154 lesser   

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。

155 transfused   

v.输（血或别的液体）( transfuse的过去式和过去分词 )；渗透；使…被灌输或传达

参考例句：

• He transfused his own courage into his men. 他用自己的勇气鼓舞了士兵。 来自《现代英汉综合大词典》
• The professor transfused his enthusiasm for research into his students. 教授把自己的研究热忱移注给学生。 来自辞典例句

156 interpretation   

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。

157 alluring   

adj.吸引人的，迷人的

参考例句：

• The life in a big city is alluring for the young people. 大都市的生活对年轻人颇具诱惑力。
• Lisette's large red mouth broke into a most alluring smile. 莉莎特的鲜红的大嘴露出了一副极为诱人的微笑。

158 recluse   

n.隐居者

参考例句：

• The old recluse secluded himself from the outside world.这位老隐士与外面的世界隔绝了。
• His widow became a virtual recluse for the remainder of her life.他的寡妻孤寂地度过了余生。

159 sonnet   

n.十四行诗

参考例句：

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

160 sonnets   

n.十四行诗( sonnet的名词复数 )

参考例句：

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

161 epic   

n.史诗，叙事诗；adj.史诗般的，壮丽的

参考例句：

• I gave up my epic and wrote this little tale instead.我放弃了写叙事诗，而写了这个小故事。
• They held a banquet of epic proportions.他们举行了盛大的宴会。

162 lyrics   

n.歌词

参考例句：

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

163 recurrence   

n.复发，反复，重现

参考例句：

• More care in the future will prevent recurrence of the mistake.将来的小心可防止错误的重现。
• He was aware of the possibility of a recurrence of his illness.他知道他的病有可能复发。

164 solitude   

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。

165 random   

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。

166 pang   

n.剧痛，悲痛，苦闷

参考例句：

• She experienced a sharp pang of disappointment.她经历了失望的巨大痛苦。
• She was beginning to know the pang of disappointed love.她开始尝到了失恋的痛苦。

167 stifled   

（使）窒息， （使）窒闷( stifle的过去式和过去分词 )； 镇压，遏制； 堵

参考例句：

• The gas stifled them. 煤气使他们窒息。
• The rebellion was stifled. 叛乱被镇压了。

168 drowsy   

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。

169 outlet   

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。

170 tragic   

adj.悲剧的，悲剧性的，悲惨的

参考例句：

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

171 remorse   

n.痛恨，悔恨，自责

参考例句：

• She had no remorse about what she had said.她对所说的话不后悔。
• He has shown no remorse for his actions.他对自己的行为没有任何悔恨之意。

172 rustics   

n.有农村或村民特色的( rustic的名词复数 )；粗野的；不雅的；用粗糙的木材或树枝制作的

参考例句：

• These rustics are utilized for the rough work of devoton. 那样的乡村气质可以替宗教做些粗重的工作。 来自互联网

173 mitigate   

vt.（使）减轻，（使）缓和

参考例句：

• The government is trying to mitigate the effects of inflation.政府正试图缓和通货膨胀的影响。
• Governments should endeavour to mitigate distress.政府应努力缓解贫困问题。

174 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

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

175 kindly   

adj.和蔼的，温和的，爽快的；adv.温和地，亲切地

参考例句：

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

176 extraordinarily   

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。

177 precocious   

adj.早熟的；较早显出的

参考例句：

• They become precocious experts in tragedy.他们成了一批思想早熟、善写悲剧的能手。
• Margaret was always a precocious child.玛格丽特一直是个早熟的孩子。

178 logic   

n.逻辑(学)；逻辑性

参考例句：

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

179 treatises   

n.专题著作，专题论文，专著( treatise的名词复数 )

参考例句：

• Many treatises in different languages have been published on pigeons. 关于鸽类的著作，用各种文字写的很多。 来自辞典例句
• Many other treatises incorporated the new rigor. 许多其它的专题论文体现了新的严密性。 来自辞典例句

180 slashing   

adj.尖锐的；苛刻的；鲜明的；乱砍的v.挥砍( slash的现在分词 )；鞭打；割破；削减

参考例句：

• Slashing is the first process in which liquid treatment is involved. 浆纱是液处理的第一过程。 来自辞典例句
• He stopped slashing his horse. 他住了手，不去鞭打他的马了。 来自辞典例句

181 trifling   

adj.微不足道的；没什么价值的

参考例句：

• They quarreled over a trifling matter.他们为这种微不足道的事情争吵。
• So far Europe has no doubt, gained a real conveniency,though surely a very trifling one.直到现在为止,欧洲无疑地已经获得了实在的便利，不过那确是一种微不足道的便利。

182 enlisted   

adj.应募入伍的v.（使）入伍， （使）参军( enlist的过去式和过去分词 )；获得（帮助或支持）

参考例句：

• enlisted men and women 男兵和女兵
• He enlisted with the air force to fight against the enemy. 他应募加入空军对敌作战。 来自《现代汉英综合大词典》

183 drudgery   

n.苦工，重活，单调乏味的工作

参考例句：

• People want to get away from the drudgery of their everyday lives.人们想摆脱日常生活中单调乏味的工作。
• He spent his life in pointlessly tiresome drudgery.他的一生都在做毫无意义的烦人的苦差事。

184 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

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

185 enraptured   

v.使狂喜( enrapture的过去式和过去分词 )

参考例句：

• He was enraptured that she had smiled at him. 她对他的微笑使他心荡神驰。 来自《简明英汉词典》
• They were enraptured to meet the great singer. 他们和大名鼎鼎的歌手见面，欣喜若狂。 来自《简明英汉词典》

186 scattered   

adj.分散的，稀疏的；散步的；疏疏落落的

参考例句：

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

187 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。

188 temperament   

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。

189 soothed   

v.安慰( soothe的过去式和过去分词 )；抚慰；使舒服；减轻痛苦

参考例句：

• The music soothed her for a while. 音乐让她稍微安静了一会儿。
• The soft modulation of her voice soothed the infant. 她柔和的声调使婴儿安静了。 来自《现代英汉综合大词典》

190 enjoyments   

愉快( enjoyment的名词复数 )； 令人愉快的事物； 享有； 享受

参考例句：

• He is fond of worldly enjoyments. 他喜爱世俗的享乐。
• The humanities and amenities of life had no attraction for him--its peaceful enjoyments no charm. 对他来说，生活中的人情和乐趣并没有吸引力——生活中的恬静的享受也没有魅力。

191 admiration   

n.钦佩，赞美，羡慕

参考例句：

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

192 drawn   

v.拖，拉，拔出；adj.憔悴的，紧张的

参考例句：

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

193 softens   

（使）变软( soften的第三人称单数 )； 缓解打击； 缓和； 安慰

参考例句：

• Iron softens with heat. 铁受热就软化。
• Moonlight softens our faults; all shabbiness dissolves into shadow. 月光淡化了我们的各种缺点，所有的卑微都化解为依稀朦胧的阴影。 来自名作英译部分

194 triumphant   

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。

195 stanza   

n.（诗）节，段

参考例句：

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

196 cadence   

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。

197 oars   

n.桨，橹( oar的名词复数 )；划手v.划（行）( oar的第三人称单数 )

参考例句：

• He pulled as hard as he could on the oars. 他拼命地划桨。
• The sailors are bending to the oars. 水手们在拼命地划桨。 来自《简明英汉词典》

198 philosophical   

adj.哲学家的，哲学上的，达观的

参考例句：

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

199 innocence   

n.无罪；天真；无害

参考例句：

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

200 bridled   

给…套龙头( bridle的过去式和过去分词 )； 控制； 昂首表示轻蔑（或怨忿等）； 动怒，生气

参考例句：

• She bridled at the suggestion that she was lying. 她对暗示她在说谎的言论嗤之以鼻。
• He bridled his horse. 他给他的马套上笼头。

201 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！

202 conjure   

v.恳求，祈求；变魔术，变戏法

参考例句：

• I conjure you not to betray me.我恳求你不要背弃我。
• I can't simply conjure up the money out of thin air.我是不能像变魔术似的把钱变来。

203 caverns   

大山洞，大洞穴( cavern的名词复数 )

参考例句：

• Within were dark caverns; what was inside them, no one could see. 里面是一个黑洞，这里面有什么东西，谁也望不见。 来自汉英文学 - 家（1-26） - 家（1-26）
• UNDERGROUND Under water grottos, caverns Filled with apes That eat figs. 在水帘洞里，挤满了猿争吃无花果。

204 wholesome   

adj.适合；卫生的；有益健康的；显示身心健康的

参考例句：

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

205 phantom   

n.幻影，虚位，幽灵；adj.错觉的，幻影的，幽灵的

参考例句：

• I found myself staring at her as if she were a phantom.我发现自己瞪大眼睛看着她，好像她是一个幽灵。
• He is only a phantom of a king.他只是有名无实的国王。

206 absurdities   

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

207 mechanisms   

n.机械( mechanism的名词复数 )；机械装置；[生物学] 机制；机械作用

参考例句：

• The research will provide direct insight into molecular mechanisms. 这项研究将使人能够直接地了解分子的机理。 来自《简明英汉词典》
• He explained how the two mechanisms worked. 他解释这两台机械装置是如何工作的。 来自《简明英汉词典》

208 hymn   

n.赞美诗，圣歌，颂歌

参考例句：

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

209 sketches   

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》

210 illuminating   

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。

211 refreshing   

adj.使精神振作的，使人清爽的，使人喜欢的

参考例句：

• I find it'so refreshing to work with young people in this department.我发现和这一部门的青年一起工作令人精神振奋。
• The water was cold and wonderfully refreshing.水很涼，特别解乏提神。

212 bent   

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。

213 materialistic   

a.唯物主义的，物质享乐主义的

参考例句：

• She made him both soft and materialistic. 她把他变成女性化而又实际化。
• Materialistic dialectics is an important part of constituting Marxism. 唯物辩证法是马克思主义的重要组成部分。

214 labored   

adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转

参考例句：

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

215 justified   

a.正当的，有理的

参考例句：

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

216 utterly   

adv.完全地，绝对地

参考例句：

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

217 enchantment   

n.迷惑，妖术，魅力

参考例句：

• The beauty of the scene filled us with enchantment.风景的秀丽令我们陶醉。
• The countryside lay as under some dread enchantment.乡村好像躺在某种可怖的魔法之下。

218 mythology   

n.神话，神话学，神话集

参考例句：

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

219 auld   

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。

220 teller   

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。

221 dreary   

adj.令人沮丧的，沉闷的，单调乏味的

参考例句：

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

222 excellence   

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。

223 crudity   

n.粗糙，生硬；adj.粗略的

参考例句：

• I'd never met such crudity before.我从未见过这样粗鲁的行径。
• Birthplace data are only the crudest indicator of actual migration paths.出生地信息只能非常粗略地显示实际移民过程。

224 vigor   

n.活力，精力，元气

参考例句：

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

225 descended   

a.为...后裔的，出身于...的

参考例句：

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

226 distinguished   

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。

227 feuds   

n.长期不和，世仇( feud的名词复数 )

参考例句：

• Quarrels and feuds between tribes became incessant. 部落间的争吵、反目成仇的事件接连不断。 来自英汉非文学 - 文明史
• There were feuds in the palace, no one can deny. 宫里也有斗争，这是无可否认的。 来自辞典例句

228 attainments   

成就，造诣； 获得( attainment的名词复数 )； 达到； 造诣； 成就

参考例句：

• a young woman of impressive educational attainments 一位学业成就斐然的年轻女子
• He is a scholar of the highest attainments in this field. 他在这一领域是一位颇有造就的学者。

229 lawsuits   

n.诉讼( lawsuit的名词复数 )

参考例句：

• Lawsuits involving property rights and farming and grazing rights increased markedly. 涉及财产权，耕作与放牧权的诉讼案件显著地增加。 来自辞典例句
• I've lost and won more lawsuits than any man in England. 全英国的人算我官司打得最多，赢的也多，输的也多。 来自辞典例句

230 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

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

231 desultory   

adj.散漫的，无方法的

参考例句：

• Do not let the discussion fragment into a desultory conversation with no clear direction.不要让讨论变得支离破碎，成为没有明确方向的漫谈。
• The constables made a desultory attempt to keep them away from the barn.警察漫不经心地拦着不让他们靠近谷仓。

232 gathering   

n.集会，聚会，聚集

参考例句：

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

233 immediate   

adj.立即的；直接的，最接近的；紧靠的

参考例句：

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

234 scant   

adj.不充分的，不足的；v.减缩，限制，忽略

参考例句：

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

235 constable   

n.(英国)警察，警官

参考例句：

• The constable conducted the suspect to the police station.警官把嫌疑犯带到派出所。
• The constable kept his temper,and would not be provoked.那警察压制着自己的怒气，不肯冒起火来。

236 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

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

237 exhausted   

adj.极其疲惫的，精疲力尽的

参考例句：

• It was a long haul home and we arrived exhausted.搬运回家的这段路程特别长，到家时我们已筋疲力尽。
• Jenny was exhausted by the hustle of city life.珍妮被城市生活的忙乱弄得筋疲力尽。

238 fickle   

adj.(爱情或友谊上)易变的，不坚定的

参考例句：

• Fluctuating prices usually base on a fickle public's demand.物价的波动往往是由于群众需求的不稳定而引起的。
• The weather is so fickle in summer.夏日的天气如此多变。

239 dispense   

vt.分配，分发；配(药)，发(药)；实施

参考例句：

• Let us dispense the food.咱们来分发这食物。
• The charity has been given a large sum of money to dispense as it sees fit.这个慈善机构获得一大笔钱，可自行适当分配。

240 scotch   

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

参考例句：

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

241 lavishly   

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。

242 isles   

岛( isle的名词复数 )

参考例句：

• the geology of the British Isles 不列颠群岛的地质
• The boat left for the isles. 小船驶向那些小岛。

243 rummaging   

翻找，搜寻( rummage的现在分词 )； 海关检查

参考例句：

• She was rummaging around in her bag for her keys. 她在自己的包里翻来翻去找钥匙。
• Who's been rummaging through my papers? 谁乱翻我的文件来着？

244 precedent   

n.先例，前例；惯例；adj.在前的，在先的

参考例句：

• Is there a precedent for what you want me to do?你要我做的事有前例可援吗？
• This is a wonderful achievement without precedent in Chinese history.这是中国历史上亘古未有的奇绩。

245 dwarf   

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。

246 illustrating   

给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明

参考例句：

• He upstaged the other speakers by illustrating his talk with slides. 他演讲中配上幻灯片，比其他演讲人更吸引听众。
• Material illustrating detailed structure of graptolites has been etched from limestone by means of hydrofluoric acid. 表明笔石详细构造的物质是利用氢氟酸从石灰岩中侵蚀出来。

247 witchcraft   

n.魔法，巫术

参考例句：

• The woman practising witchcraft claimed that she could conjure up the spirits of the dead.那个女巫说她能用魔法召唤亡灵。
• All these things that you call witchcraft are capable of a natural explanation.被你们统统叫做巫术的那些东西都可以得到合情合理的解释。

248 diligent   

adj.勤勉的，勤奋的

参考例句：

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

249 encyclopedia   

n.百科全书

参考例句：

• The encyclopedia fell to the floor with a thud.那本百科全书砰的一声掉到地上。
• Geoff is a walking encyclopedia.He knows about everything.杰夫是个活百科全书，他什么都懂。

250 heroism   

n.大无畏精神，英勇

参考例句：

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

251 clannish   

adj.排他的，门户之见的

参考例句：

• They were a clannish lot,not given to welcoming strangers.他们那帮人抱成一团，不怎么欢迎生人。
• Firms are also doggedly clannish on the inside.公司内部同时也具有极其顽固的排他性。

252 loyalty   

n.忠诚，忠心

参考例句：

• She told him the truth from a sense of loyalty.她告诉他真相是出于忠诚。
• His loyalty to his friends was never in doubt.他对朋友的一片忠心从来没受到怀疑。

253 hereditary   

adj.遗传的，遗传性的，可继承的，世袭的

参考例句：

• The Queen of England is a hereditary ruler.英国女王是世袭的统治者。
• In men,hair loss is hereditary.男性脱发属于遗传。

254 abruptly   

adv.突然地，出其不意地

参考例句：

• He gestured abruptly for Virginia to get in the car.他粗鲁地示意弗吉尼亚上车。
• I was abruptly notified that a half-hour speech was expected of me.我突然被通知要讲半个小时的话。

255 portrayal   

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。

256 picturesque   

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。

257 groan   

vi./n.呻吟，抱怨；(发出)呻吟般的声音

参考例句：

• The wounded man uttered a groan.那个受伤的人发出呻吟。
• The people groan under the burden of taxes.人民在重税下痛苦呻吟。

258 talisman   

n.避邪物，护身符

参考例句：

• It was like a talisman worn in bosom.它就象佩在胸前的护身符一样。
• Dress was the one unfailling talisman and charm used for keeping all things in their places.冠是当作保持品位和秩序的一种万应灵符。

259 blithely   

adv.欢乐地，快活地，无挂虑地

参考例句：

• They blithely carried on chatting, ignoring the customers who were waiting to be served. 他们继续开心地聊天，将等着购物的顾客们置于一边。 来自《简明英汉词典》
• He blithely ignored her protests and went on talking as if all were agreed between them. 对她的抗议他毫不在意地拋诸脑后，只管继续往下说，仿彿他们之间什么都谈妥了似的。 来自《简明英汉词典》

260 creditors   

n.债权人，债主( creditor的名词复数 )

参考例句：

• They agreed to repay their creditors over a period of three years. 他们同意3年内向债主还清欠款。 来自《简明英汉词典》
• Creditors could obtain a writ for the arrest of their debtors. 债权人可以获得逮捕债务人的令状。 来自《简明英汉词典》

261 bankruptcy   

n.破产；无偿付能力

参考例句：

• You will have to pull in if you want to escape bankruptcy.如果你想避免破产，就必须节省开支。
• His firm is just on thin ice of bankruptcy.他的商号正面临破产的危险。

262 resolutely   

adj.坚决地，果断地

参考例句：

• He resolutely adhered to what he had said at the meeting. 他坚持他在会上所说的话。
• He grumbles at his lot instead of resolutely facing his difficulties. 他不是果敢地去面对困难，而是抱怨自己运气不佳。

263 accomplished   

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。

264 paralysis   

n.麻痹(症)；瘫痪(症)

参考例句：

• The paralysis affects his right leg and he can only walk with difficulty.他右腿瘫痪步履维艰。
• The paralysis affects his right leg and he can only walk with difficulty.他右腿瘫痪步履维艰。

265 dictating   

v.大声讲或读( dictate的现在分词 )；口授；支配；摆布

参考例句：

• The manager was dictating a letter to the secretary. 经理在向秘书口授信稿。 来自辞典例句
• Her face is impassive as she listens to Miller dictating the warrant for her arrest. 她毫无表情地在听米勒口述拘留她的证书。 来自辞典例句

266 stunning   

adj.极好的；使人晕倒的

参考例句：

• His plays are distinguished only by their stunning mediocrity.他的戏剧与众不同之处就是平凡得出奇。
• The finished effect was absolutely stunning.完工后的效果非常美。

267 vessel   

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。

268 promptly   

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。

269 naval   

adj.海军的，军舰的，船的

参考例句：

• He took part in a great naval battle.他参加了一次大海战。
• The harbour is an important naval base.该港是一个重要的海军基地。

270 slaughter   

n.屠杀，屠宰；vt.屠杀，宰杀

参考例句：

• I couldn't stand to watch them slaughter the cattle.我不忍看他们宰牛。
• Wholesale slaughter was carried out in the name of progress.大规模的屠杀在维护进步的名义下进行。

271 joyous   

adj.充满快乐的；令人高兴的

参考例句：

• The lively dance heightened the joyous atmosphere of the scene.轻快的舞蹈给这场戏渲染了欢乐气氛。
• They conveyed the joyous news to us soon.他们把这一佳音很快地传递给我们。

272 forth   

adv.向前；向外，往外

参考例句：

• The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
• He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。

273 exclamation   

n.感叹号，惊呼，惊叹词

参考例句：

• He could not restrain an exclamation of approval.他禁不住喝一声采。
• The author used three exclamation marks at the end of the last sentence to wake up the readers.作者在文章的最后一句连用了三个惊叹号，以引起读者的注意。

274 picturesqueness   

参考例句：

• The picturesqueness of the engineer's life was always attractive to Presley. 这司机的丰富多彩的生活，始终叫普瑞斯莱醉心。
• Philip liked the daring picturesqueness of the Americans'costume. 菲利浦喜欢美国人装束的那种粗犷的美。

275 chivalry   

n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤

参考例句：

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

276 frankly   

adv.坦白地，直率地；坦率地说

参考例句：

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

277 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

278 indirectly   

adv.间接地，不直接了当地

参考例句：

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

279 terse   

adj.(说话，文笔)精炼的，简明的

参考例句：

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

280 plunges   

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

281 perennial   

adj.终年的；长久的

参考例句：

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

282 followers   

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。

283 strife   

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。

284 portrayed   

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》

285 narratives   

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。

286 moors   

v.停泊，系泊（船只）( moor的第三人称单数 )

参考例句：

• the North York moors 北约克郡的漠泽
• They're shooting grouse up on the moors. 他们在荒野射猎松鸡。 来自《简明英汉词典》

287 gulf   

n.海湾；深渊，鸿沟；分歧，隔阂

参考例句：

• The gulf between the two leaders cannot be bridged.两位领导人之间的鸿沟难以跨越。
• There is a gulf between the two cities.这两座城市间有个海湾。

288 oasis   

n.（沙漠中的）绿洲，宜人的地方

参考例句：

• They stopped for the night at an oasis.他们在沙漠中的绿洲停下来过夜。
• The town was an oasis of prosperity in a desert of poverty.该镇是贫穷荒漠中的一块繁荣的“绿洲”。

289 pertinent   

adj.恰当的；贴切的；中肯的；有关的；相干的

参考例句：

• The expert made some pertinent comments on the scheme.那专家对规划提出了一些中肯的意见。
• These should guide him to pertinent questions for further study.这些将有助于他进一步研究有关问题。

290 protocols   

n.礼仪( protocol的名词复数 )；（外交条约的）草案；（数据传递的）协议；科学实验报告（或计划）

参考例句：

• There are also protocols on the testing of nuclear weapons. 也有关于核武器试验的协议。 来自辞典例句
• Hardware components and software design of network transport protocols are separately introduced. 介绍系统硬件组成及网络传输协议的软件设计。 来自互联网

291 controversies   

争论

参考例句：

• We offer no comment on these controversies here. 对于这些争议，我们在这里不作任何评论。 来自英汉非文学 - 历史
• The controversies surrounding population growth are unlikely to subside soon. 围绕着人口增长问题的争论看来不会很快平息。 来自辞典例句

292 humble   

adj.谦卑的，恭顺的；地位低下的；v.降低，贬低

参考例句：

• In my humble opinion,he will win the election.依我拙见，他将在选举中获胜。
• Defeat and failure make people humble.挫折与失败会使人谦卑。

293 maiden   

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。

294 maidens   

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

295 exasperating   

adj. 激怒的 动词exasperate的现在分词形式

参考例句：

• Our team's failure is very exasperating. 我们队失败了，真是气死人。
• It is really exasperating that he has not turned up when the train is about to leave. 火车快开了， 他还不来，实在急人。

296 tapestry   

n.挂毯，丰富多采的画面

参考例句：

• How about this artistic tapestry and this cloisonne vase?这件艺术挂毯和这个景泰蓝花瓶怎么样？
• The wall of my living room was hung with a tapestry.我的起居室的墙上挂着一块壁毯。

297 sane   

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。

298 manly   

adj.有男子气概的；adv.男子般地，果断地

参考例句：

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

299 sincerity   

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。

300 gaudy   

adj.华而不实的；俗丽的

参考例句：

• She was tricked out in gaudy dress.她穿得华丽而俗气。
• The gaudy butterfly is sure that the flowers owe thanks to him.浮华的蝴蝶却相信花是应该向它道谢的。

301 charlatanry   

n.吹牛，骗子行为

参考例句：

302 brass   

n.黄铜；黄铜器，铜管乐器

参考例句：

• Many of the workers play in the factory's brass band.许多工人都在工厂铜管乐队中演奏。
• Brass is formed by the fusion of copper and zinc.黄铜是通过铜和锌的熔合而成的。

303 exclusion   

n.拒绝，排除，排斥，远足，远途旅行

参考例句：

• Don't revise a few topics to the exclusion of all others.不要修改少数论题以致排除所有其他的。
• He plays golf to the exclusion of all other sports.他专打高尔夫球，其他运动一概不参加。

304 bombast   

n.高调，夸大之辞

参考例句：

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

305 bombastic   

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。

306 disillusioned   

a.不再抱幻想的，大失所望的，幻想破灭的

参考例句：

• I soon became disillusioned with the job. 我不久便对这个工作不再抱幻想了。
• Many people who are disillusioned in reality assimilate life to a dream. 许多对现实失望的人把人生比作一场梦。

307 cynical   

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。

308 rhetoric   

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。

309 canto   

n.长篇诗的章

参考例句：

• It's the fourth canto of Byron's "Childe Harold".这是拜伦长诗《恰尔德·哈罗尔德游记》的第四章。
• The Fifth Canto of the Srimad Bhagavatam tells of innumerable universes.《圣典博伽瓦谭》第五篇讲述了有无数宇宙存在。

310 outlaw   

n.歹徒，亡命之徒；vt.宣布…为不合法

参考例句：

• The outlaw hid out in the hills for several months.逃犯在山里隐藏了几个月。
• The outlaw has been caught.歹徒已被抓住了。

311 martial   

adj.战争的，军事的，尚武的，威武的

参考例句：

• The sound of martial music is always inspiring.军乐声总是鼓舞人心的。
• The officer was convicted of desertion at a court martial.这名军官在军事法庭上被判犯了擅离职守罪。

312 intrigue   

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。

313 intrigues   

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

参考例句：

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

314 tainted   

adj.腐坏的；污染的；沾污的；感染的v.使变质( taint的过去式和过去分词 )；使污染；败坏；被污染，腐坏，败坏

参考例句：

• The administration was tainted with scandal. 丑闻使得政府声名狼藉。
• He was considered tainted by association with the corrupt regime. 他因与腐败政府有牵连而名誉受损。 来自《简明英汉词典》

315 deserted   

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。

316 squandering   

v.（指钱，财产等）浪费，乱花( squander的现在分词 )

参考例句：

• You're faced with ending it all, of squandering what was given. 把到手的东西就这样随随便便弄掉。 来自辞典例句
• I see all this potential And I see squandering. 你们的潜力都被浪费了。 来自互联网

317 lameness   

n. 跛, 瘸, 残废

参考例句：

• Having been laughed at for his lameness,the boy became shy and inhibited. 那男孩因跛脚被人讥笑，变得羞怯而压抑。
• By reason of his lameness the boy could not play games. 这男孩因脚跛不能做游戏。

318 deformed   

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。

319 pathos   

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。

320 contrived   

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。

321 secrecy   

n.秘密，保密，隐蔽

参考例句：

• All the researchers on the project are sworn to secrecy.该项目的所有研究人员都按要求起誓保守秘密。
• Complete secrecy surrounded the meeting.会议在绝对机密的环境中进行。

322 inclinations   

倾向( inclination的名词复数 )； 倾斜； 爱好； 斜坡

参考例句：

• She has artistic inclinations. 她有艺术爱好。
• I've no inclinations towards life as a doctor. 我的志趣不是行医。

323 infancy   

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。

324 generosity   

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。

325 miserably   

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》

326 satire   

n.讽刺，讽刺文学，讽刺作品

参考例句：

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

327 bards   

n.诗人( bard的名词复数 )

参考例句：

• There were feasts and drinking and singing by the bards. 他们欢宴狂饮，还有吟游诗人的歌唱作伴助兴。 来自英汉非文学 - 历史
• Round many western islands have I been Which Bards in fealty to Apollo hold. 还有多少西方的海岛，歌都已使它们向阿波罗臣服。 来自英汉 - 翻译样例 - 文学

328 satirized   

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

329 provocation   

n.激怒，刺激，挑拨，挑衅的事物，激怒的原因

参考例句：

• He's got a fiery temper and flares up at the slightest provocation.他是火爆性子，一点就着。
• They did not react to this provocation.他们对这一挑衅未作反应。

330 testament   

n.遗嘱；证明

参考例句：

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

331 barbarians   

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

332 idol   

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。

333 patriots   

爱国者，爱国主义者( patriot的名词复数 )

参考例句：

• Abraham Lincoln was a fine type of the American patriots. 亚伯拉罕·林肯是美国爱国者的优秀典型。
• These patriots would fight to death before they surrendered. 这些爱国者宁愿战斗到死，也不愿投降。

334 curiously   

adv.有求知欲地；好问地；奇特地

参考例句：

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

335 cowardice   

n.胆小，怯懦

参考例句：

• His cowardice reflects on his character.他的胆怯对他的性格带来不良影响。
• His refusal to help simply pinpointed his cowardice.他拒绝帮助正显示他的胆小。

336 embittered   

v.使怨恨，激怒( embitter的过去式和过去分词 )

参考例句：

• These injustices embittered her even more. 不公平使她更加受苦。 来自《简明英汉词典》
• The artist was embittered by public neglect. 大众的忽视于那位艺术家更加难受。 来自《简明英汉词典》

337 transformation   

n.变化；改造；转变

参考例句：

• Going to college brought about a dramatic transformation in her outlook.上大学使她的观念发生了巨大的变化。
• He was struggling to make the transformation from single man to responsible husband.他正在努力使自己由单身汉变为可靠的丈夫。

338 expressive   

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。

339 sophomoric   

adj.一知半解的；大学或四年制中学的二年级的

参考例句：

• Do you really believe that sophomoric argument?你当真相信那种幼稚可笑的论点吗？
• As a sophomoric student,it's very happy for me to receive invitation.作为一个二年级的学生，能收到邀请，我自然感到特别开心。

340 ridicules   

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

参考例句：

341 marred   

adj. 被损毁, 污损的

参考例句：

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

342 parody   

n.打油诗文，诙谐的改编诗文，拙劣的模仿；v.拙劣模仿，作模仿诗文

参考例句：

• The parody was just a form of teasing.那个拙劣的模仿只是一种揶揄。
• North Korea looks like a grotesque parody of Mao's centrally controlled China,precisely the sort of system that Beijing has left behind.朝鲜看上去像是毛时代中央集权的中国的怪诞模仿，其体制恰恰是北京方面已经抛弃的。

343 underlying   

adj.在下面的，含蓄的，潜在的

参考例句：

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

344 abode   

n.住处，住所

参考例句：

• It was ten months before my father discovered his abode.父亲花了十个月的功夫，才好不容易打听到他的住处。
• Welcome to our humble abode!欢迎光临寒舍！

345 disposition   

n.性情，性格；意向，倾向；排列，部署

参考例句：

• He has made a good disposition of his property.他已对财产作了妥善处理。
• He has a cheerful disposition.他性情开朗。

346 incapable   

adj.无能力的，不能做某事的

参考例句：

• He would be incapable of committing such a cruel deed.他不会做出这么残忍的事。
• Computers are incapable of creative thought.计算机不会创造性地思维。

347 remains   

n.剩余物，残留物；遗体，遗迹

参考例句：

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

348 tumult   

n.喧哗；激动，混乱；吵闹

参考例句：

• The tumult in the streets awakened everyone in the house.街上的喧哗吵醒了屋子里的每一个人。
• His voice disappeared under growing tumult.他的声音消失在越来越响的喧哗声中。

349 possessed   

adj.疯狂的；拥有的，占有的

参考例句：

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

350 millennium   

n.一千年，千禧年；太平盛世

参考例句：

• The whole world was counting down to the new millennium.全世界都在倒计时迎接新千年的到来。
• We waited as the clock ticked away the last few seconds of the old millennium.我们静候着时钟滴答走过千年的最后几秒钟。

351 gallop   

v./n.(马或骑马等)飞奔；飞速发展

参考例句：

• They are coming at a gallop towards us.他们正朝着我们飞跑过来。
• The horse slowed to a walk after its long gallop.那匹马跑了一大阵后慢下来缓步而行。

352 atlas   

n.地图册，图表集

参考例句：

• He reached down the atlas from the top shelf.他从书架顶层取下地图集。
• The atlas contains forty maps,including three of Great Britain.这本地图集有40幅地图，其中包括3幅英国地图。

353 diatribes   

n.谩骂，讽刺( diatribe的名词复数 )

参考例句：

354 radical   

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。

355 anarchist   

n.无政府主义者

参考例句：

• You must be an anarchist at heart.你在心底肯定是个无政府主义者。
• I did my best to comfort them and assure them I was not an anarchist.我尽量安抚他们并让它们明白我并不是一个无政府主义者。

356 toil   

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。

357 martyr   

n.烈士，殉难者；vt.杀害，折磨，牺牲

参考例句：

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

358 expectancy   

n.期望，预期，（根据概率统计求得）预期数额

参考例句：

• Japanese people have a very high life expectancy.日本人的平均寿命非常长。
• The atomosphere of tense expectancy sobered everyone.这种期望的紧张气氛使每个人变得严肃起来。

359 chamber   

n.房间，寝室；会议厅；议院；会所

参考例句：

• For many,the dentist's surgery remains a torture chamber.对许多人来说，牙医的治疗室一直是间受刑室。
• The chamber was ablaze with light.会议厅里灯火辉煌。

360 brutal   

adj.残忍的，野蛮的，不讲理的

参考例句：

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

361 brutality   

n.野蛮的行为，残忍，野蛮

参考例句：

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

362 torments   

（肉体或精神上的）折磨，痛苦( torment的名词复数 )； 造成痛苦的事物[人]

参考例句：

• He released me from my torments. 他解除了我的痛苦。
• He suffered torments from his aching teeth. 他牙痛得难受。

363 defiance   

n.挑战，挑衅，蔑视，违抗

参考例句：

• He climbed the ladder in defiance of the warning.他无视警告爬上了那架梯子。
• He slammed the door in a spirit of defiance.他以挑衅性的态度把门砰地一下关上。

364 scraps   

油渣

参考例句：

• Don't litter up the floor with scraps of paper. 不要在地板上乱扔纸屑。
• A patchwork quilt is a good way of using up scraps of material. 做杂拼花布棉被是利用零碎布料的好办法。

365 atheism   

n.无神论，不信神

参考例句：

• Atheism is the opinion that there is no God.无神论是认为不存在上帝的看法。
• Atheism is a hot topic.无神论是个热门话题。

366 offense   

n.犯规，违法行为；冒犯，得罪

参考例句：

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

367 deference   

n.尊重，顺从；敬意

参考例句：

• Do you treat your parents and teachers with deference?你对父母师长尊敬吗？
• The major defect of their work was deference to authority.他们的主要缺陷是趋从权威。

368 affinity   

n.亲和力，密切关系

参考例句：

• I felt a great affinity with the people of the Highlands.我被苏格兰高地人民深深地吸引。
• It's important that you share an affinity with your husband.和丈夫有共同的爱好是十分重要的。

369 dealing   

n.经商方法，待人态度

参考例句：

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

370 amiable   

adj.和蔼可亲的，友善的，亲切的

参考例句：

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

371 hostility   

n.敌对，敌意；抵制［pl.］交战，战争

参考例句：

• There is open hostility between the two leaders.两位领导人表现出公开的敌意。
• His hostility to your plan is well known.他对你的计划所持的敌意是众所周知的。

372 dozing   

v.打瞌睡,假寐 n.瞌睡

参考例句：

• The economy shows no signs of faltering. 经济没有衰退的迹象。
• He never falters in his determination. 他的决心从不动摇。

373 ashore   

adv.在(向)岸上，上岸

参考例句：

• The children got ashore before the tide came in.涨潮前，孩子们就上岸了。
• He laid hold of the rope and pulled the boat ashore.他抓住绳子拉船靠岸。

374 cremated   

v.火葬，火化（尸体）( cremate的过去式和过去分词 )

参考例句：

• He wants to is cremated, not buried. 他要火葬，不要土葬。 来自《简明英汉词典》
• The bodies were cremated on the shore. 他们的尸体在海边火化了。 来自辞典例句

375 reverence   

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

参考例句：

• He was a bishop who was held in reverence by all.他是一位被大家都尊敬的主教。
• We reverence tradition but will not be fettered by it.我们尊重传统，但不被传统所束缚。

376 cemetery   

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。

377 inscription   

n.（尤指石块上的）刻印文字，铭文，碑文

参考例句：

• The inscription has worn away and can no longer be read.铭文已磨损，无法辨认了。
• He chiselled an inscription on the marble.他在大理石上刻碑文。

378 supreme   

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。

379 confession   

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。

380 dignify   

vt.使有尊严；使崇高；给增光

参考例句：

• It does not dignify the human condition. It does not elevate the human spirit.它不能使人活得更有尊严，不能提升人的精神生活。
• I wouldn't dignify this trash by calling it a novel.这部劣等作品我是不会美称为小说的。

381 overthrows   

n.推翻，终止，结束( overthrow的名词复数 )v.打倒，推翻( overthrow的第三人称单数 )；使终止

参考例句：

• Newly-elected French President Charles Louis Bonaparte overthrows the Second Republic. 1851年，新选出来的法国总统查尔斯·路易斯·波拿巴推翻了第二次共和。 来自互联网
• With unexpected innovative elements, the Next Step overthrows your knowledge for percussion! 意想不到的创新元素，颠覆你对打击乐的印象。 来自互联网

382 stoic   

n.坚忍克己之人，禁欲主义者

参考例句：

• A stoic person responds to hardship with imperturbation.坚忍克己之人经受苦难仍能泰然自若。
• On Rajiv's death a stoic journey began for Mrs Gandhi,supported by her husband's friends.拉吉夫死后，索尼亚在丈夫友人的支持下开始了一段坚忍的历程。

383 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。

384 purely   

adv.纯粹地，完全地

参考例句：

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

385 Christian   

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。

386 regained   

复得( regain的过去式和过去分词 )； 赢回； 重回； 复至某地

参考例句：

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

387 impractical   

adj.不现实的，不实用的，不切实际的

参考例句：

• He was hopelessly impractical when it came to planning new projects.一到规划新项目，他就完全没有了实际操作的能力。
• An entirely rigid system is impractical.一套完全死板的体制是不实际的。

388 morbid   

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。

389 descends   

v.下来( descend的第三人称单数 )；下去；下降；下斜

参考例句：

• This festival descends from a religious rite. 这个节日起源于宗教仪式。 来自《简明英汉词典》
• The path descends steeply to the village. 小路陡直而下直到村子。 来自《简明英汉词典》

390 monstrous   

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！

391 platonic   

adj.精神的；柏拉图（哲学）的

参考例句：

• Their friendship is based on platonic love.他们的友情是基于柏拉图式的爱情。
• Can Platonic love really exist in real life?柏拉图式的爱情，在现实世界里到底可能吗？

392 cloister   

n.修道院；v.隐退，使与世隔绝

参考例句：

• They went out into the stil,shadowy cloister garden.他们出了房间，走到那个寂静阴沉的修道院的园子里去。
• The ancient cloister was a structure of red brick picked out with white stone.古老的修道院是一座白石衬托着的红砖建筑物。

393 threnody   

n.挽歌，哀歌

参考例句：

• They sang a threnody for the dead person.他们为那个死去的人唱了哀歌。
• In the opera's final scene,the leading lady sings a threnody to mourn the murdered king.在最后一幕歌剧，领唱唱了一首哀歌来悼念被谋杀的国王。

394 splendors   

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

395 splendor   

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。

396 exquisitely   

adv.精致地；强烈地；剧烈地；异常地

参考例句：

• He found her exquisitely beautiful. 他觉得她异常美丽。 来自《简明英汉词典》
• He wore an exquisitely tailored gray silk and accessories to match. 他穿的是做工非常考究的灰色绸缎衣服，还有各种配得很协调的装饰。 来自教父部分

397 elegies   

n.哀歌，挽歌( elegy的名词复数 )

参考例句：

398 permeated   

弥漫( permeate的过去式和过去分词 )； 遍布； 渗入； 渗透

参考例句：

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

399 animates   

v.使有生气( animate的第三人称单数 )；驱动；使栩栩如生地动作；赋予…以生命

参考例句：

• The soul animates the body. 灵魂使肉体有生命。 来自辞典例句
• It is probable that life animates all the planets revolving round all the stars. 生命为一切围绕恒星旋转的行星注入活力。 来自辞典例句

400 texture   

n.(织物)质地；(材料)构造；结构；肌理

参考例句：

• We could feel the smooth texture of silk.我们能感觉出丝绸的光滑质地。
• Her skin has a fine texture.她的皮肤细腻。

401 promising   

adj.有希望的，有前途的

参考例句：

• The results of the experiments are very promising.实验的结果充满了希望。
• We're trying to bring along one or two promising young swimmers.我们正设法培养出一两名有前途的年轻游泳选手。

402 hoop   

n.（篮球）篮圈，篮

参考例句：

• The child was rolling a hoop.那个孩子在滚铁环。
• The wooden tub is fitted with the iron hoop.木盆都用铁箍箍紧。

403 guardians   

监护人( guardian的名词复数 )； 保护者，维护者

参考例句：

• Farmers should be guardians of the countryside. 农民应是乡村的保卫者。
• The police are guardians of law and order. 警察是法律和秩序的护卫者。

404 bind   

vt.捆，包扎；装订；约束；使凝固；vi.变硬

参考例句：

• I will let the waiter bind up the parcel for you.我让服务生帮你把包裹包起来。
• He wants a shirt that does not bind him.他要一件不使他觉得过紧的衬衫。

405 apprentice   

n.学徒，徒弟

参考例句：

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

406 apprenticeship   

n.学徒身份；学徒期

参考例句：

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

407 alleged   

a.被指控的，嫌疑的

参考例句：

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

408 professed   

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。

409 virtue   

n.德行，美德；贞操；优点；功效，效力

参考例句：

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

410 fealty   

n.忠贞，忠节

参考例句：

• He swore fealty to the king.他宣誓效忠国王。
• If you are fealty and virtuous,then I would like to meet you.如果你孝顺善良，我很愿意认识你。

411 demesne   

n.领域，私有土地

参考例句：

• The tenants of the demesne enjoyed certain privileges.领地的占有者享有一定的特权。
• Keats is referring to epic poetry when he mentions Homer's"proud demesne".当济慈提到荷马的“骄傲的领域”时，他指的是史诗。

412 serene   

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。

414 faculty   

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。

415 bower   

n.凉亭，树荫下凉快之处；闺房；v.荫蔽

参考例句：

• They sat under the leafy bower at the end of the garden and watched the sun set.他们坐在花园尽头由叶子搭成的凉棚下观看落日。
• Mrs. Quilp was pining in her bower.奎尔普太太正在她的闺房里度着愁苦的岁月。

416 illustrate   

v.举例说明，阐明；图解，加插图

参考例句：

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

417 chaotic   

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。

418 ornament   

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。

419 immaturity   

n.不成熟；未充分成长；未成熟；粗糙

参考例句：

• It traces the development of a young man from immaturity to maturity. 它描写一位青年从不成熟到成熟的发展过程。 来自辞典例句
• Immaturity is the inability to use one's understanding without guidance from another. 不成熟就是不经他人的指引就无法运用自身的理解力。 来自互联网

420 glorify   

vt.颂扬，赞美，使增光，美化

参考例句：

• Politicians have complained that the media glorify drugs.政治家们抱怨媒体美化毒品。
• We are all committed to serving the Lord and glorifying His name in the best way we know.我们全心全意敬奉上帝，竭尽所能颂扬他的美名。

421 psyche   

n.精神；灵魂

参考例句：

• His exploration of the myth brings insight into the American psyche.他对这个神话的探讨揭示了美国人的心理。
• She spent her life plumbing the mysteries of the human psyche.她毕生探索人类心灵的奥秘。

422 subdued   

adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词

参考例句：

• He seemed a bit subdued to me. 我觉得他当时有点闷闷不乐。
• I felt strangely subdued when it was all over. 一切都结束的时候，我却有一种奇怪的压抑感。

423 rambling   

adj.[建]凌乱的，杂乱的

参考例句：

• We spent the summer rambling in Ireland. 我们花了一个夏天漫游爱尔兰。
• It was easy to get lost in the rambling house. 在布局凌乱的大房子里容易迷路。

424 knights   

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

参考例句：

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

425 knight   

n.骑士，武士；爵士

参考例句：

• He was made an honourary knight.他被授予荣誉爵士称号。
• A knight rode on his richly caparisoned steed.一个骑士骑在装饰华丽的马上。

426 lodgings   

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。

427 lodging   

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?

428 asylum   

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。

429 appalling   

adj.骇人听闻的，令人震惊的，可怕的

参考例句：

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

430 malady   

n.病，疾病(通常做比喻)

参考例句：

• There is no specific remedy for the malady.没有医治这种病的特效药。
• They are managing to control the malady into a small range.他们设法将疾病控制在小范围之内。

431 eternity   

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。

432 immature   

adj.未成熟的，发育未全的，未充分发展的

参考例句：

• Tony seemed very shallow and immature.托尼看起来好像很肤浅，不夠成熟。
• The birds were in immature plumage.这些鸟儿羽翅未全。

433 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

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

434 specimens   

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

参考例句：

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

435 dissertation   

n.（博士学位）论文，学术演讲，专题论文

参考例句：

• He is currently writing a dissertation on the Somali civil war.他目前正在写一篇关于索马里内战的论文。
• He was involved in writing his doctoral dissertation.他在聚精会神地写他的博士论文。

436 irresistibly   

adv.无法抵抗地，不能自持地；极为诱惑人地

参考例句：

• 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。 来自《简明英汉词典》
• He was irresistibly attracted by her charm. 他不能自已地被她的魅力所吸引。 来自《简明英汉词典》

437 anatomy   

n.解剖学，解剖；功能，结构，组织

参考例句：

• He found out a great deal about the anatomy of animals.在动物解剖学方面，他有过许多发现。
• The hurricane's anatomy was powerful and complex.对飓风的剖析是一项庞大而复杂的工作。

438 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

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

439 appreciations   

n.欣赏( appreciation的名词复数 )；感激；评定；（尤指土地或财产的）增值

参考例句：

• Do you usually appreciations to yourself and others? Explain. 你有常常给自己和别人称赞吗？请解释一下。 来自互联网
• What appreciations would you have liked to receive? 你希望接受什么样的感激和欣赏？ 来自互联网

440 erratic   

adj.古怪的，反复无常的，不稳定的

参考例句：

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

441 fabulous   

adj.极好的；极为巨大的；寓言中的，传说中的

参考例句：

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

442 astounded   

v.使震惊(astound的过去式和过去分词)；愕然；愕；惊讶

参考例句：

• His arrogance astounded her. 他的傲慢使她震惊。
• How can you say that? I'm absolutely astounded. 你怎么能说出那种话？我感到大为震惊。

443 harangue   

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。

444 interceded   

v.斡旋，调解( intercede的过去式和过去分词 )；说情

参考例句：

• They interceded with the authorities on behalf of the detainees. 他们为被拘留者向当局求情。
• He interceded with the teacher for me. 他为我向老师求情。 来自《现代汉英综合大词典》

445 vagrancy   

（说话的，思想的）游移不定； 漂泊； 流浪； 离题

参考例句：

• The tramp was arrested for vagrancy. 这个流浪汉因流浪而被捕。
• Vagrancy and begging has become commonplace in London. 流浪和乞讨在伦敦已变得很常见。

446 charcoal   

n.炭，木炭，生物炭

参考例句：

• We need to get some more charcoal for the barbecue.我们烧烤需要更多的碳。
• Charcoal is used to filter water.木炭是用来过滤水的。

447 confessions   

n.承认( confession的名词复数 )；自首；声明；（向神父的）忏悔

参考例句：

• It is strictly forbidden to obtain confessions and to give them credence. 严禁逼供信。 来自《现代汉英综合大词典》
• Neither trickery nor coercion is used to secure confessions. 既不诱供也不逼供。 来自《现代汉英综合大词典》

448 opium   

n.鸦片；adj.鸦片的

参考例句：

• That man gave her a dose of opium.那男人给了她一剂鸦片。
• Opium is classed under the head of narcotic.鸦片是归入麻醉剂一类的东西。

449 misery   

n.痛苦，苦恼，苦难；悲惨的境遇，贫苦

参考例句：

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

450 peculiarity   

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。

451 intervals   

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。

452 industriously   

参考例句：

• She paces the whole class in studying English industriously. 她在刻苦学习英语上给全班同学树立了榜样。
• He industriously engages in unostentatious hard work. 他勤勤恳恳，埋头苦干。

453 anonymous   

adj.无名的；匿名的；无特色的

参考例句：

• Sending anonymous letters is a cowardly act.寄匿名信是懦夫的行为。
• The author wishes to remain anonymous.作者希望姓名不公开。

454 anonymously   

ad.用匿名的方式

参考例句：

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

455 anecdotes   

n.掌故，趣闻，轶事( anecdote的名词复数 )

参考例句：

• amusing anecdotes about his brief career as an actor 关于他短暂演员生涯的趣闻逸事
• He related several anecdotes about his first years as a congressman. 他讲述自己初任议员那几年的几则轶事。 来自《简明英汉词典》

456 courteous   

adj.彬彬有礼的，客气的

参考例句：

• Although she often disagreed with me,she was always courteous.尽管她常常和我意见不一，但她总是很谦恭有礼。
• He was a kind and courteous man.他为人友善，而且彬彬有礼。

457 chaos   

n.混乱，无秩序

参考例句：

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

458 grotesque   

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。

459 witticism   

n.谐语，妙语

参考例句：

• He tries to lighten his lectures with an occasional witticism.他有时想用俏皮话使课堂活跃。
• His witticism was as sharp as a marble.他的打趣话十分枯燥无味。

460 essentially   

adv.本质上，实质上，基本上

参考例句：

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

461 minor   

adj.较小(少)的，较次要的；n.辅修学科；vi.辅修

参考例句：

• The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
• I gave him a minor share of my wealth.我把小部分财产给了他。

462 savage   

adj.野蛮的；凶恶的，残暴的；n.未开化的人

参考例句：

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

463 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

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

464 scanty   

adj.缺乏的，仅有的，节省的，狭小的，不够的

参考例句：

• There is scanty evidence to support their accusations.他们的指控证据不足。
• The rainfall was rather scanty this month.这个月的雨量不足。

465 appreciative   

adj.有鉴赏力的，有眼力的；感激的

参考例句：

• She was deeply appreciative of your help.她对你的帮助深表感激。
• We are very appreciative of their support in this respect.我们十分感谢他们在这方面的支持。

466 averse   

adj.厌恶的；反对的，不乐意的

参考例句：

• I don't smoke cigarettes,but I'm not averse to the occasional cigar.我不吸烟，但我不反对偶尔抽一支雪茄。
• We are averse to such noisy surroundings.我们不喜欢这么吵闹的环境。

467 publicity   

n.众所周知，闻名；宣传，广告

参考例句：

• The singer star's marriage got a lot of publicity.这位歌星的婚事引起了公众的关注。
• He dismissed the event as just a publicity gimmick.他不理会这件事，只当它是一种宣传手法。

468 imposing   

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。

469 gatherings   

聚集( gathering的名词复数 )； 收集； 采集； 搜集

参考例句：

• His conduct at social gatherings created a lot of comment. 他在社交聚会上的表现引起许多闲话。
• During one of these gatherings a pupil caught stealing. 有一次，其中一名弟子偷窃被抓住。

470 secluded   

adj.与世隔绝的；隐退的；偏僻的v.使隔开，使隐退( seclude的过去式和过去分词)

参考例句：

• Some people like to strip themselves naked while they have a swim in a secluded place. 一些人当他们在隐蔽的地方游泳时，喜欢把衣服脱光。 来自《简明英汉词典》
• This charming cottage dates back to the 15th century and is as pretty as a picture, with its thatched roof and secluded garden. 这所美丽的村舍是15世纪时的建筑，有茅草房顶和宁静的花园，漂亮极了，简直和画上一样。 来自《简明英汉词典》

471 eddy   

n.漩涡，涡流

参考例句：

• The motor car disappeared in eddy of dust.汽车在一片扬尘的涡流中不见了。
• In Taylor's picture,the eddy is the basic element of turbulence.在泰勒的描述里，旋涡是湍流的基本要素。

472 hearty   

adj.热情友好的；衷心的；尽情的，纵情的

参考例句：

• After work they made a hearty meal in the worker's canteen.工作完了，他们在工人食堂饱餐了一顿。
• We accorded him a hearty welcome.我们给他热忱的欢迎。

473 prevailing   

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。

474 abounded   

v.大量存在，充满，富于( abound的过去式和过去分词 )

参考例句：

• Get-rich-quick schemes abounded, and many people lost their savings. “生财之道”遍地皆是，然而许多人一生积攒下来的钱转眼之间付之东流。 来自英汉非文学 - 政府文件
• Shoppers thronged the sidewalks. Olivedrab and navy-blue uniforms abounded. 人行道上逛商店的人摩肩接踵，身着草绿色和海军蓝军装的军人比比皆是。 来自辞典例句

475 cultivation   

n.耕作，培养，栽培（法），养成

参考例句：

• The cultivation in good taste is our main objective.培养高雅情趣是我们的主要目标。
• The land is not fertile enough to repay cultivation.这块土地不够肥沃，不值得耕种。

476 expenditures   

n.花费( expenditure的名词复数 )；使用；（尤指金钱的）支出额；（精力、时间、材料等的）耗费

参考例句：

• We have overspent.We'll have to let up our expenditures next month. 我们已经超支了，下个月一定得节约开支。 来自《简明英汉词典》
• The pension includes an allowance of fifty pounds for traffic expenditures. 年金中包括50镑交通费补贴。 来自《简明英汉词典》

477 choleric   

adj.易怒的，性情暴躁的

参考例句：

• His pride and choleric temper were to ruin him.他生性高傲自恃而又易于发怒，这会毁了他的。
• He was affable at one moment,choleric the next.他一会儿还和蔼可亲，可一转眼就火冒三丈。

478 defiant   

adj.无礼的，挑战的

参考例句：

• With a last defiant gesture,they sang a revolutionary song as they were led away to prison.他们被带走投入监狱时，仍以最后的反抗姿态唱起了一支革命歌曲。
• He assumed a defiant attitude toward his employer.他对雇主采取挑衅的态度。

479 appreciable   

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。

480 diminution   

n.减少；变小

参考例句：

• They hope for a small diminution in taxes.他们希望捐税能稍有减少。
• He experienced no diminution of his physical strength.他并未感觉体力衰落。

481 penetrating   

adj.（声音）响亮的，尖锐的adj.（气味）刺激的adj.（思想）敏锐的，有洞察力的

参考例句：

• He had an extraordinarily penetrating gaze. 他的目光有股异乎寻常的洞察力。
• He examined the man with a penetrating gaze. 他以锐利的目光仔细观察了那个人。

482 converse   

vi.谈话，谈天，闲聊；adv.相反的，相反

参考例句：

• He can converse in three languages.他可以用3种语言谈话。
• I wanted to appear friendly and approachable but I think I gave the converse impression.我想显得友好、平易近人些,却发觉给人的印象恰恰相反。

483 monotonous   

adj.单调的，一成不变的，使人厌倦的

参考例句：

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

484 braces   

n.吊带，背带；托架( brace的名词复数 )；箍子；括弧；（儿童）牙箍v.支住( brace的第三人称单数 )；撑牢；使自己站稳；振作起来

参考例句：

• The table is shaky because the braces are loose. 这张桌子摇摇晃晃，因为支架全松了。
• You don't need braces if you're wearing a belt! 要系腰带，就用不着吊带了。

485 severely   

adv.严格地；严厉地；非常恶劣地

参考例句：

• He was severely criticized and removed from his post.他受到了严厉的批评并且被撤了职。
• He is severely put down for his careless work.他因工作上的粗心大意而受到了严厉的批评。

486 agitation   

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。

487 subsided   

v.（土地）下陷（因在地下采矿）( subside的过去式和过去分词 )；减弱；下降至较低或正常水平；一下子坐在椅子等上

参考例句：

• After the heavy rains part of the road subsided. 大雨过后，部分公路塌陷了。 来自《简明英汉词典》
• By evening the storm had subsided and all was quiet again. 傍晚， 暴风雨已经过去，四周开始沉寂下来。 来自《现代汉英综合大词典》

488 bibliography   

n.参考书目；(有关某一专题的)书目

参考例句：

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

489 treasury   

n.宝库；国库，金库；文库

参考例句：

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

490 belles   

n.美女( belle的名词复数 )；最美的美女

参考例句：

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

491 muses   

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

492 landmarks   

n.陆标( landmark的名词复数 )；目标；（标志重要阶段的）里程碑 ~ (in sth)；有历史意义的建筑物（或遗址）

参考例句：

• The book stands out as one of the notable landmarks in the progress of modern science. 这部著作是现代科学发展史上著名的里程碑之一。 来自《现代汉英综合大词典》
• The baby was one of the big landmarks in our relationship. 孩子的出世是我们俩关系中的一个重要转折点。 来自辞典例句

493 memoir   

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。

494 memoirs   

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》

495 dykes   

abbr.diagonal wire cutters 斜线切割机n.堤( dyke的名词复数 )；坝；堰；沟

参考例句：

• They built dykes and dam to hold back the rising flood waters. 他们修筑了堤坝来阻挡上涨的洪水。 来自《简明英汉词典》
• The dykes were built as a protection against the sea. 建筑堤坝是为了防止海水泛滥。 来自《简明英汉词典》

496 makers   

n.制造者，制造商（maker的复数形式）

参考例句：

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

497 sterling   

adj.英币的(纯粹的，货真价实的)；n.英国货币(英镑)

参考例句：

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

498 transcripts   

n.抄本（ transcript的名词复数 ）；转写本；文字本；副本

参考例句：

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

499 illustrated   

adj. 有插图的，列举的 动词illustrate的过去式和过去分词

参考例句：

• His lecture was illustrated with slides taken during the expedition. 他在讲演中使用了探险时拍摄到的幻灯片。
• The manufacturing Methods: Will be illustrated in the next chapter. 制作方法将在下一章说明。

500 briefly   

adv.简单地，简短地

参考例句：

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

501 epoch   

n.(新)时代；历元

参考例句：

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

502 delicacy   

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。

503 colonization   

殖民地的开拓，殖民，殖民地化； 移殖

参考例句：

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

504 steamship   

n.汽船，轮船

参考例句：

• The return may be made on the same steamship.可乘同一艘汽船当天回来。
• It was so foggy that the steamship almost ran down a small boat leaving the port.雾很大，汽艇差点把一只正在离港的小船撞沉。