CHAPTER XI

THE VICTORIAN AGE (1850-1900)

THE MODERN PERIOD OF PROGRESS AND UNREST

When Victoria became queen, in 1837, English literature seemed to have entered upon a period of lean years, in marked contrast with the poetic² fruitfulness of the romantic age which we have just studied. Coleridge, Shelley, Keats, Byron, and Scott had passed away, and it seemed as if there were no writers in England to fill their places. Wordsworth had written, in 1835,

    Like clouds that rake, the mountain summits,
        Or waves that own no curbing³ hand,
    How fast has brother followed brother,
        From sunshine to the sunless land!

In these lines is reflected the sorrowful spirit of a literary man of the early nineteenth century who remembered the glory that had passed away from the earth. But the leanness of these first years is more apparent than real. Keats and Shelley were dead, it is true, but already there had appeared three disciples⁵ of these poets who were destined⁶ to be far more widely, read than were their masters. Tennyson had been publishing poetry since 1827, his first poems appearing almost simultaneously⁷ with the last work of Byron, Shelley, and Keats; but it was not until 1842, with the publication of his collected poems, in two volumes, that England recognized in him one of her great literary leaders. So also Elizabeth Barrett had been writing since 1820, but not till twenty years later did her poems become deservedly popular; and Browning had published his Pauline in 1833, but it was not until 1846, when he published the last of the series called Bells and Pomegranates, that the reading public began to appreciate his power and originality⁸. Moreover, even as romanticism seemed passing away, a group of great prose writers--Dickens, Thackeray, Carlyle, and Ruskin--had already begun to proclaim the literary glory of a new age, which now seems to rank only just below the Elizabethan and the Romantic periods.

DemocracyHistorical Summary. Amid the multitude of social and political forces of this great age, four things stand out clearly. First, the long struggle of the Anglo-Saxons for personal liberty is definitely settled, and democracy becomes the established order of the day. The king, who appeared in an age of popular weakness and ignorance, and the peers, who came with the Normans in triumph, are both stripped of their power and left as figureheads of a past civilization. The last vestige¹⁰ of personal government and of the divine right of rulers disappears; the House of Commons becomes the ruling power in England; and a series of new reform bills rapidly extend the suffrage¹¹, until the whole body of English people choose for themselves the men who shall represent them.

Social UnrestSecond, because it is an age of democracy, it is an age of popular education, of religious tolerance¹², of growing brotherhood¹³, and of profound social unrest. The slaves had been freed in 1833; but in the middle of the century England awoke to the fact that slaves are not necessarily negroes, stolen in Africa to be sold like cattle in the market place, but that multitudes of men, women, and little children in the mines and factories were victims of a more terrible industrial and social slavery. To free these slaves also, the unwilling¹⁴ victims of our unnatural¹⁵ competitive methods, has been the growing purpose of the Victorian Age until the present day.

The Ideal of PeaceThird, because it is an age of democracy and education, it is an age of comparative peace. England begins to think less of the pomp and false glitter of fighting, and more of its moral evils, as the nation realizes that it is the common people who bear the burden and the sorrow and the poverty of war, while the privileged classes reap most of the financial and political rewards. Moreover, with the growth of trade and of friendly foreign relations, it becomes evident that the social equality for which England was contending at home belongs to the whole race of men; that brotherhood is universal, not insular¹⁸; that a question of justice is never settled by fighting; and that war is generally unmitigated horror and barbarism. Tennyson, who came of age when the great Reform Bill occupied attention, expresses the ideals of the Liberals of his day who proposed to spread the gospel of peace,

    Till the war-drum throbb'd no longer, and the battle-flags were furled
    In the Parliament of Man, the Federation²⁰ of the world.

Arts and Sciences Fourth, the Victorian Age is especially remarkable²¹ because of its rapid progress in all the arts and sciences and in mechanical inventions. A glance at any record of the industrial achievements of the nineteenth century will show how vast they are, and it is unnecessary to repeat here the list of the inventions, from spinning looms²² to steamboats, and from matches to electric lights. All these material things, as well as the growth of education, have their influence upon the life of a people, and it is inevitable²³ that they should react upon its prose and poetry; though as yet we are too much absorbed in our sciences and mechanics to determine accurately²⁴ their influence upon literature. When these new things shall by long use have became familiar as country roads, or have been replaced by newer and better things, then they also will have their associations and memories, and a poem on the railroads may be as suggestive as Wordsworth's sonnet²⁵ on Westminster Bridge; and the busy, practical workingmen who to-day throng²⁶ our streets and factories may seem, to a future and greater age, as quaint²⁷ and poetical²⁸ as to us seem the slow toilers of the Middle Ages.

An Age of Prose Literary Characteristics. When one is interested enough to trace the genealogy³⁰ of Victoria he finds, to his surprise, that in her veins³¹ flowed the blood both of William the Conqueror³³ and of Cerdic, the first Saxon king of England; and this seems to be symbolic³⁴ of the literature of her age, which embraces the whole realm of Saxon and Norman life,--the strength and ideals of the one, and the culture and refinement³⁵ of the other. The romantic revival³⁷ had done its work, and England entered upon a new free period, in which every form of literature, from pure romance to gross realism, struggled for expression. At this day it is obviously impossible to judge the age as a whole; but we are getting far enough away from the early half of it to notice certain definite characteristics. First, though the age produced many poets, and two who deserve to rank among the greatest, nevertheless this is emphatically an age of prose. And since the number of readers has increased a thousandfold with the spread of popular education, it is the age of the newspaper, the magazine, and the modern novel,--the first two being the story of the world's daily life, and the last our pleasantest form of literary entertainment, as well as our most successful method of presenting modern problems and modern ideals. The novel in this age fills a place which the drama held in the days of Elizabeth; and never before, in any age or language, has the novel appeared in such numbers and in such perfection.

[Moral Purpose] The second marked characteristic of the age is that literature, both in prose and in poetry, seems to depart from the purely³⁸ artistic³⁹ standard, of art for art's sake, and to be actuated by a definite moral purpose Tennyson, Browning, Carlyle, Ruskin,--who and what were these men if not the teachers of England, not vaguely⁴⁰ but definitely, with superb faith in their message, and with the conscious moral purpose to uplift and to instruct? Even the novel breaks away from Scott's romantic influence, and first studies life as it is, and then points out what life may and ought to be. Whether we read the fun and sentiment of Dickens, the social miniatures of Thackeray, or the psychological studies of George Eliot, we find in almost every case a definite purpose to sweep away error and to reveal the underlying⁴¹ truth of human life. So the novel sought to do for society in this age precisely⁴² what Lyell and Darwin sought to do for science, that is, to find the truth, and to show how it might be used to uplift humanity. Perhaps for this reason the Victorian Age is emphatically an age of realism rather than of romance,--not the realism of Zola and Ibsen, but a deeper realism which strives to tell the whole truth, showing moral and physical diseases as they are, but holding up health and hope as the normal conditions of humanity.

IdealismIt is somewhat customary to speak of this age as an age of doubt and pessimism⁴³, following the new conception of man and of the universe which was formulated⁴⁴ by science under the name of involution. It is spoken of also as a prosaic⁴⁶ age, lacking in great ideals. Both these criticisms seem to be the result of judging a large thing when we are too close to it to get its true proportions, just as Cologne Cathedral, one of the world's most perfect structures, seems to be a shapeless pile of stone when we stand too close beneath its mighty⁴⁷ walls and buttresses⁴⁸. Tennyson's immature⁴⁹ work, like that of the minor⁵⁰ poets, is sometimes in a doubtful or despairing strain; but his In Memoriam is like the rainbow after storm; and Browning seems better to express the spirit of his age in the strong, manly⁵¹ faith of "Rabbi Ben Ezra," and in the courageous⁵² optimism of all his poetry. Stedman's Victorian Anthology is, on the whole, a most inspiring book of poetry. It would be hard to collect more varied⁵³ cheer from any age. And the great essayists, like Macaulay, Carlyle, Ruskin, and the great novelists, like Dickens, Thackeray, George Eliot, generally leave us with a larger charity and with a deeper faith in our humanity.

So also the judgment⁵⁴ that this age is too practical for great ideals may be only a description of the husk that hides a very full ear of corn. It is well to remember that Spenser and Sidney judged their own age (which we now consider to be the greatest in our literary history) to be altogether given over to materialism⁵⁵, and to be incapable⁵⁶ of literary greatness. Just as time has made us smile at their blindness, so the next century may correct our judgment of this as a material age, and looking upon the enormous growth of charity and brotherhood among us, and at the literature which expresses our faith in men, may judge the Victorian Age to be, on the whole, the noblest and most inspiring in the history of the world.

I. THE POETS OF THE VICTORIAN AGE

ALFRED TENNYSON (1809-1892)

    O young Mariner⁵⁷,
    You from the haven⁵⁸
    Under the sea-cliff,
    You that are watching
    The gray Magician
    With eyes of wonder,
    I am Merlin,
    And I am dying,
    I am Merlin
    Who follow The Gleam.
        . . . . . . .
    O young Mariner,
    Down to the haven
    Call your companions,
    Launch your vessel⁵⁹,
    And crowd your canvas,
    And, ere it vanishes
    Over the margin⁶⁰,
    After it, follow it,
    Follow The Gleam.

One who reads this haunting poem of "Merlin and The Gleam" finds in it a suggestion of the spirit of the poet's whole life,--his devotion to the ideal as expressed in poetry, his early romantic impressions, his struggles, doubts, triumphs, and his thrilling message to his race. Throughout the entire Victorian period Tennyson stood at the summit of poetry in England. Not in vain was he appointed laureate at the death of Wordsworth, in 1850; for, almost alone among those who have held the office, he felt the importance of his place, and filled and honored it. For nearly half a century Tennyson was not only a man and a poet; he was a voice, the voice of a whole people, expressing in exquisite⁶¹ melody their doubts and their faith, their griefs and their triumphs. In the wonderful variety of his verse he suggests all the qualities of England's greatest poets. The dreaminess of Spenser, the majesty⁶² of Milton, the natural simplicity⁶³ of Wordsworth, the fantasy of Blake and Coleridge, the melody of Keats and Shelley, the narrative⁶⁴ vigor⁶⁵ of Scott and Byron,--all these striking qualities are evident on successive pages of Tennyson's poetry. The only thing lacking is the dramatic power of the Elizabethans. In reflecting the restless spirit of this progressive age Tennyson is as remarkable as Pope was in voicing the artificiality of the early eighteenth century. As a poet, therefore, who expresses not so much a personal as a national spirit, he is probably the most representative literary man of the Victorian era.

Life. Tennyson's life is a remarkable one in this respect, that from beginning to end he seems to have been dominated by a single impulse, the impulse of poetry. He had no large or remarkable experiences, no wild oats to sow, no great successes or reverses, no business cares or public offices. For sixty-six years, from the appearance of the Poems by Two Brothers, in 1827, until his death in 1892, he studied and practiced his art continually and exclusively. Only Browning, his fellow-worker, resembles him in this; but the differences in the two men are world-wide. Tennyson was naturally shy, retiring, indifferent to men, hating noise and publicity⁶⁶, loving to be alone with nature, like Wordsworth. Browning was sociable⁶⁷, delighting in applause, in society, in travel, in the noise and bustle⁶⁸ of the big world.

Tennyson was born in the rectory of Somersby, Lincolnshire, in 1809. The sweet influences of his early natural surroundings can be better understood from his early poems than from any biography. He was one of the twelve children of the Rev³⁶. George Clayton Tennyson, a scholarly clergyman, and his wife Elizabeth Fytche, a gentle, lovable woman, "not learned, save in gracious household ways," to whom the poet pays a son's loyal tribute near the close of The Princess. It is interesting to note that most of these children were poetically⁷⁰ inclined, and that two of the brothers, Charles and Frederick, gave far greater promise than did Alfred.

Illustration: ALFRED TENNYSON After the portrait by George Frederic Watts⁷¹
ALFRED TENNYSON After the portrait by George Frederic Watts

When seven years old the boy went to his grandmother's house at Louth, in order to attend a famous grammar school at that place. Not even a man's memory, which generally makes light of hardship and glorifies⁷² early experiences, could ever soften⁷³ Tennyson's hatred⁷⁴ of school life. His complaint was not so much at the roughness of the boys, which had so frightened Cowper, as at the brutality⁷⁵ of the teachers, who put over the school door a wretched Latin inscription⁷⁷ translating Solomon's barbarous advice about the rod and the child. In these psychologic days, when the child is more important than the curriculum, and when we teach girls and boys rather than Latin and arithmetic, we read with wonder Carlyle's description of his own schoolmaster, evidently a type of his kind, who "knew of the human soul thus much, that it had a faculty⁷⁹ called memory, and could be acted on through the muscular integument⁸⁰ by appliance of birch rods." After four years of most unsatisfactory school life, Tennyson returned home, and was fitted for the university by his scholarly father. With his brothers he wrote many verses, and his first efforts appeared in a little volume called Poems by Two Brothers, in 1827. The next year he entered Trinity College, Cambridge, where he became the center of a brilliant circle of friends, chief of whom was the young poet Arthur Henry Hallam.

At the university Tennyson soon became known for his poetical ability, and two years after his entrance he gained the prize of the Chancellor⁸¹'s Medal for a poem called "Timbuctoo," the subject, needless to say, being chosen by the chancellor. Soon after winning this honor Tennyson published his first signed work, called Poems Chiefly Lyrical (1830), which, though it seems somewhat crude and disappointing to us now, nevertheless contained the germ of all his later poetry. One of the most noticeable things in this volume is the influence which Byron evidently exerted over the poet in his early days; and it was perhaps due largely to the same romantic influence that Tennyson and his friend Hallam presently sailed away to Spain, with the idea of joining the army of insurgents⁸³ against King Ferdinand. Considered purely as a revolutionary venture, this was something of a fiasco, suggesting the noble Duke of York and his ten thousand men,--"he marched them up a hill, one day; and he marched them down again." From a literary view point, however, the experience was not without its value. The deep impression which the wild beauty of the Pyrenees made upon the young poet's mind is reflected clearly in the poem "Oenone."

In 1831 Tennyson left the university without taking his degree. The reasons for this step are not clear; but the family was poor, and poverty may have played a large part in his determination. His father died a few months later; but, by a generous arrangement with the new rector, the family retained the rectory at Somersby, and here, for nearly six years, Tennyson lived in a retirement⁸⁴ which strongly suggests Milton at Horton. He read and studied widely, cultivated an intimate acquaintance with nature, thought deeply on the problems suggested by the Reform Bill which was then agitating⁸⁵ England, and during his leisure hours wrote poetry. The first fruits of this retirement appeared, late in 1832, in a wonderful little volume bearing the simple name Poems. As the work of a youth only twenty-three, this book is remarkable for the variety and melody of its verse. Among its treasures we still read with delight "The Lotos Eaters," "Palace of Art," "A Dream of Fair Women," "The Miller's Daughter," "Oenone," and "The Lady of Shalott"; but the critics of the Quarterly, who had brutally⁸⁶ condemned⁸⁷ his earlier work, were again unmercifully severe. The effect of this harsh criticism upon a sensitive nature was most unfortunate; and when his friend Hallam died, in 1833, Tennyson was plunged⁸⁹ into a period of gloom and sorrow. The sorrow may be read in the exquisite little poem beginning, "Break, break, break, On thy cold gray stones, O Sea!" which was his first published elegy⁹⁰ for his friend; and the depressing influence of the harsh and unjust criticism is suggested in "Merlin and The Gleam," which the reader will understand only after he has read Tennyson's biography.

For nearly ten years after Hallam's death Tennyson published nothing, and his movements are hard to trace as the family went here and there, seeking peace and a home in various parts of England. But though silent, he continued to write poetry, and it was in these sad wandering days that he began his immortal⁹¹ In Memoriam and his Idylls of the King. In 1842 his friends persuaded him to give his work to the world, and with some hesitation⁹² he published his Poems. The success of this work was almost instantaneous, and we can appreciate the favor with which it was received when we read the noble blank verse of "Ulysses" and "Morte d'Arthur," the perfect little song of grief for Hallam which we have already mentioned, and the exquisite idyls like "Dora" and "The Gardener's Daughter," which aroused even Wordsworth's enthusiasm and brought from him a letter saying that he had been trying all his life to write such an English pastoral as "Dora" and had failed. From this time forward Tennyson, with increasing confidence in himself and his message, steadily⁹³ maintained his place as the best known and best loved poet in England.

The year 1850 was a happy one for Tennyson. He was appointed poet laureate, to succeed Wordsworth; and he married Emily Sellwood,

    Her whose gentle will has changed my fate
        And made my life a perfumed altar flame,

whom he had loved for thirteen years, but whom his poverty had prevented him from marrying. The year is made further remarkable by the publication of In Memoriam, probably the most enduring of his poems, upon which he had worked at intervals⁹⁵ for sixteen years. Three years later, with the money that his work now brought him, he leased the house Farringford, in the Isle⁹⁷ of Wight, and settled in the first permanent home he had known since he left the rectory at Somersby.

For the remaining forty years of his life he lived, like Wordsworth, "in the stillness of a great peace," writing steadily, and enjoying the friendship of a large number of people, some distinguished⁹⁸, some obscure, from the kindly⁹⁹ and sympathetic Victoria to the servants on his own farm. All of these he called with equal sincerity¹⁰⁰ his friends, and to each one he was the same man, simple, strong, kindly, and noble. Carlyle describes him as "a fine, large-featured, dim-eyed, bronze-colored, shaggy-headed man, ... most restful, brotherly, solid-hearted." Loving solitude¹⁰¹ and hating publicity as he did, the numerous tourists from both sides of the ocean, who sought him out in his retreat and insisted upon seeing him, made his life at times intolerable. Influenced partly by the desire to escape such popularity, he bought land and built for himself a new house, Aldworth, in Surrey, though he made his home in Farringford for the greater part of the year.

His labor¹⁰² during these years and his marvelous freshness and youthfulness of feeling are best understood by a glance at the contents of his complete works. Inferior poems, like The Princess, which was written in the first flush of his success, and his dramas, which were written against the advice of his best friends, may easily be criticised; but the bulk of his verse shows an astonishing originality and vigor to the very end. He died very quietly at Aldworth, with his family about him in the moonlight, and beside him a volume of Shakespeare, open at the dirge¹⁰⁵ in Cymbeline:

    Fear no more the heat o' the sun,
        Nor the furious winter's rages;
    Thou thy worldly task hast done,
        Home art gone, and ta'en thy wages.

The strong and noble spirit of his life is reflected in one of his best known poems, "Crossing the Bar," which was written in his eighty-first year, and which he desired should be placed at the end of his collected works:

    Sunset and evening star,
        And one clear call for me!
    And may there be no moaning of the bar,
        When I put out to sea,
    But such a tide as, moving, seems asleep,
        Too full for sound and foam¹⁰⁶,
    When that which drew from out the boundless¹⁰⁷ deep
        Turns again home.
    Twilight¹⁰⁸ and evening bell,
        And after that the dark!
    And may there be no sadness of farewell,
        When I embark¹⁰⁹;
    For tho' from out our bourne of Time and Place
        The flood may bear me far,
    I hope to see my Pilot face to face
        When I have crost the bar.

Works. At the outset of our study of Tennyson's works it may be well to record two things, by way of suggestion. First, Tennyson's poetry is not so much to be studied as to be read and appreciated; he is a poet to have open on one's table, and to enjoy as one enjoys his daily exercise. And second, we should by all means begin to get acquainted with Tennyson in the days of our youth. Unlike Browning, who is generally appreciated by more mature minds, Tennyson is for enjoyment¹¹⁰, for inspiration, rather than for instruction. Only youth can fully⁸⁸ appreciate him; and youth, unfortunately, except in a few rare, beautiful cases, is something which does not dwell with us long after our school days. The secret of poetry, especially of Tennyson's poetry, is to be eternally young, and, like Adam in Paradise, to find every morning a new world, fresh, wonderful, inspiring, as if just from the hands of God.

Early Poems and DramasExcept by the student, eager to understand the whoje range of poetry in this age, Tennyson's earlier poems and his later dramas may well be omitted. Opinions vary about both; but the general judgment seems to be that the earlier poems show too much of Byron's influence, and their crudeness suffers by comparison with the exquisitely¹¹¹ finished work of Tennyson's middle life. Of dramatic works he wrote seven, his great ambition being to present a large part of the history of England in a series of dramas. Becket was one of the best of these works and met with considerable favor on the stage; but, like all the others, it indicates that Tennyson lacked the dramatic power and the humor necessary for a successful playwright¹¹².

The Princess and MaudAmong the remaining poems there is such a wide variety that every reader must be left largely to follow his own delightful¹¹³ choice.[235] Of the Poems of 1842 we have already mentioned those best worth reading. The Princess, a Medley¹¹⁴ (1847), a long poem of over three thousand lines of blank verse, is Tennyson's answer to the question of woman's rights and woman's sphere, which was then, as in our own day, strongly agitating the public mind. In this poem a baby finally solves the problem which philosophers have pondered ever since men began to think connectedly about human society. A few exquisite songs, like "Tears, Idle Tears," "Bugle¹¹⁵ Song," and "Sweet and Low," form the most delightful part of this poem, which in general is hardly up to the standard of the poet's later work. Maud (1855) is what is called in literature a monodrama, telling the story of a lover who passes from morbidness¹¹⁶ to ecstasy¹¹⁷, then to anger and murder, followed by insanity¹¹⁸ and recovery. This was Tennyson's favorite, and among his friends he read aloud from it more than from any other poem. Perhaps if we could hear Tennyson read it, we should appreciate it better; but, on the whole, it seems overwrought and melodramatic. Even its lyrics¹²⁰, like "Come into the Garden, Maud," which make this work a favorite with young lovers, are characterized by "prettiness" rather than by beauty or strength.

In MemoriamPerhaps the most loved of all Tennyson's works is In Memoriam, which, on account of both its theme and its exquisite workmanship, is "one of the few immortal names that were not born to die." The immediate¹²¹ occasion of this remarkable poem was Tennyson's profound personal grief at the death of his friend Hallam. As he wrote lyric⁸² after lyric, inspired by this sad subject, the poet's grief became less personal, and the greater grief of humanity mourning for its dead and questioning its immortality¹²² took possession of him. Gradually the poem became an expression, first, of universal doubt, and then of universal faith, a faith which rests ultimately not on reason or philosophy but on the soul's instinct for immortality. The immortality of human love is the theme of the poem, which is made up of over one hundred different lyrics. The movement takes us through three years, rising slowly from poignant¹²³ sorrow and doubt to a calm peace and hope, and ending with a noble hymn¹²⁴ of courage and faith,--a modest courage and a humble¹²⁵ faith, love-inspired,--which will be a favorite as long as saddened men turn to literature for consolation¹²⁶. Though Darwin's greatest books had not yet been written, science had already overturned many old conceptions of life; and Tennyson, who lived apart and thought deeply on all the problems of his day, gave this poem to the world as his own answer to the doubts and questionings of men. This universal human interest, together with its exquisite form and melody, makes the poem, in popular favor at least, the supreme¹²⁷ threnody¹²⁸, or elegiac poem, of our literature; though Milton's Lycidas is, from the critical view point, undoubtedly¹²⁹ a more artistic work.

Illustration: Sir Galahad
Sir Galahad

Idylls of the KingThe Idylls of the King ranks among the greatest of Tennyson's later works. Its general subject is the Celtic legends of King Arthur and his knights¹³¹ of the Round Table, and the chief source of its material is Malory's Morte d'Arthur. Here, in this mass of beautiful legends, is certainly the subject of a great national epic¹³²; yet after four hundred years, during which many poets have used the material, the great epic is still unwritten. Milton and Spenser, as we have already noted¹³³, considered this material carefully; and Milton alone, of all English writers, had perhaps the power to use it in a great epic. Tennyson began to use these legends in his Morte d'Arthur (1842); but the epic idea probably occurred to him later, in 1856, when he began "Geraint and Enid," and he added the stories of "Vivien," "Elaine," "Guinevere," and other heroes and heroines at intervals, until "Balin," the last of the Idylls, appeared in 1885. Later these works were gathered together and arranged with an attempt at unity¹³⁴. The result is in no sense an epic poem, but rather a series of single poems loosely connected by a thread of interest in Arthur, the central personage, and in his unsuccessful attempt to found an ideal kingdom.

English IdylsEntirely different in spirit is another collection of poems called English Idyls,[236] which began in the Poems of 1842, and which Tennyson intended should reflect the ideals of widely different types of English life. Of these varied poems, "Dora," "The Gardener's Daughter," "Ulysses," "Locksley Hall" and "Sir Galahad" are the best; but all are worthy¹³⁶ of study. One of the most famous of this series is "Enoch Arden" (1864), in which Tennyson turns from medi?val knights, from lords, heroes, and fair ladies, to find the material for true poetry among the lowly people that make up the bulk of English life. Its rare melody, its sympathy for common life, and its revelation of the beauty and heroism¹³⁷ which hide in humble men and women everywhere, made this work an instant favorite. Judged by its sales alone, it was the most popular of his works during the poet's lifetime.

Tennyson's later volumes, like the Ballads¹³⁸ (1880) and Demeter (1889), should not be overlooked, since they contain some of his best work. The former contains stirring war songs, like "The Defence of Lucknow," and pictures of wild passionate¹⁴⁰ grief, like "Rizpah"; the latter is notable for "Romney's Remorse¹⁴¹," a wonderful piece of work; "Merlin and The Gleam," which expresses the poet's lifelong ideal; and several exquisite little songs, like "The Throstle," and "The Oak," which show how marvelously the aged¹⁴² poet retained his youthful freshness and inspiration. Here certainly is variety enough to give us long years of literary enjoyment; and we need hardly mention miscellaneous poems, like "The Brook¹⁴³" and "The Charge of the Light Brigade," which are known to every schoolboy; and "Wages" and "The Higher Pantheism," which should be read by every man who thinks about the old, old problem of life and death.

Characteristics of Tennyson's Poetry. If we attempt to sum up the quality of Tennyson, as shown in all these works, the task is a difficult one; but three things stand out more or less plainly. First, Tennyson is essentially¹⁴⁴ the artist. No other in his age studied the art of poetry so constantly or with such singleness of purpose; and only Swinburne rivals him in melody and the perfect finish of his verse. Second, like all the great writers of his age, he is emphatically a teacher, often a leader. In the preceding age, as the result of the turmoil¹⁴⁵ produced by the French Revolution, lawlessness was more or less common, and individuality was the rule in literature. Tennyson's theme, so characteristic of his age, is the reign¹⁷ of order,--of law in the physical world, producing evolution, and of law in the spiritual world, working out the perfect man. In Memoriam, Idylls of the King, The Princess,-here are three widely different poems; yet the theme of each, so far as poetry is a kind of spiritual philosophy and weighs its words before it utters them, is the orderly development of law in the natural and in the spiritual world.

Tennyson's MessageThis certainly is a new doctrine¹⁴⁶ in poetry, but the message does not end here. Law implies a source, a method, an object. Tennyson, after facing his doubts honestly and manfully, finds law even in the sorrows and losses of humanity. He gives this law an infinite and personal source, and finds the supreme purpose of all law to be a revelation of divine love. All earthly love, therefore, becomes an image of the heavenly. What first perhaps attracted readers to Tennyson, as to Shakespeare, was the character of his women,--pure, gentle, refined beings, whom we must revere¹⁴⁷ as our Anglo-Saxon forefathers¹⁴⁸ revered¹⁴⁹ the women they loved. Like Browning, the poet had loved one good woman supremely¹⁵⁰, and her love made clear the meaning of all life. The message goes one step farther. Because law and love are in the world, faith is the only reasonable attitude toward life and death, even though we understand them not. Such, in a few words, seems to be Tennyson's whole message and philosophy.

If we attempt now to fix Tennyson's permanent place in literature, as the result of his life and work, we must apply to him the same test that we applied¹⁵¹ to Milton and Wordsworth, and, indeed, to all our great poets, and ask with the German critics, "What new thing has he said to the world or even to his own country?" The answer is, frankly¹⁵², that we do not yet know surely; that we are still too near Tennyson to judge him impersonally¹⁵³. This much, however, is clear. In a marvelously complex age, and amid a hundred great men, he was regarded as a leader. For a full half century he was the voice of England, loved and honored as a man and a poet, not simply by a few discerning critics, but by a whole people that do not easily give their allegiance to any one man. And that, for the present, is Tennyson's sufficient eulogy¹⁵⁴.

ROBERT BROWNING (1812-1889)

    How good is man's life, the mere¹⁵⁵ living! how fit to employ
    All the heart and the soul and the senses for ever in joy!

In this new song of David, from Browning's Saul, we have a suggestion of the astonishing vigor and hope that characterize all the works of Browning, the one poet of the age who, after thirty years of continuous work, was finally recognized and placed beside Tennyson, and whom future ages may judge to be a greater poet,--perhaps, even, the greatest in our literature since Shakespeare.

The chief difficulty in reading Browning is the obscurity of his style, which the critics of half a century ago held up to ridicule¹⁵⁶. Their attitude towards the poet's early work may be inferred from Tennyson's humorous criticism of Sordello. It may be remembered that the first line of this obscure poem is, "Who will may hear Sordello's story told"; and that the last line is, "Who would has heard Sordello's story told." Tennyson remarked that these were the only lines in the whole poem that he understood, and that they were evidently both lies. If we attempt to explain this obscurity, which puzzled Tennyson and many less friendly critics, we find that it has many sources. First, the poet's thought is often obscure, or else so extremely subtle that language expresses it imperfectly,--

    Thoughts hardly to be packed
    Into a narrow act,
    Fancies that broke through language and escaped.

Browning's ObscuritySecond, Browning is led from one thing to another by his own mental associations, and forgets that the reader's associations may be of an entirely¹³⁵ different kind. Third, Browning is careless in his English, and frequently clips his speech, giving us a series of ejaculations. As we do not quite understand his processes of thought, we must stop between the ejaculations to trace out the connections. Fourth, Browning's, allusions¹⁵⁸ are often far-fetched, referring to some odd scrap¹⁵⁹ of information which he has picked up in his wide reading, and the ordinary reader finds it difficult to trace and understand them. Finally, Browning wrote too much and revised too Little. The time which he should have given to making one thought clear was used in expressing other thoughts that flitted through his head like a flock of swallows. His field was the individual soul, never exactly alike in any two men, and he sought to express the hidden motives¹⁶⁰ and principles which govern individual action. In this field he is like a miner delving¹⁶¹ underground, sending up masses of mingled¹⁶² earth and ore; and the reader must sift¹⁶³ all this material to separate the gold from the dross¹⁶⁴.

Illustration: Robert Browning
Robert Browning

Here, certainly, are sufficient reasons for Browning's obscurity; and we must add the word that the fault seems unpardonable, for the simple reason that Browning shows himself capable, at times, of writing directly, melodiously¹⁶⁶, and with noble simplicity.

Browning as a teacherSo much for the faults, which must be faced and overlooked before one finds the treasure that is hidden in Browning's poetry. Of all the poets in our literature, no other is so completely, so consciously, so magnificently a teacher of men. He feels his mission of faith and courage in a world of doubt and timidity. For thirty years he faced indifference¹⁶⁸ or ridicule, working bravely and cheerfully the while, until he made the world recognize and follow him. The spirit of his whole life is well expressed in his Paracelsus, written when he was only twenty-two years old:

    I see my way as birds their trackless way.
    I shall arrive,--what time, what circuit first,
    I ask not; but unless God send his hail
    Or blinding fire-balls, sleet¹⁶⁹ or stifling¹⁷⁰ snow,
    In some time, his good time, I shall arrive;
    He guides me and the bird. In his good time.

He is not, like so many others, an entertaining poet. One cannot read him after dinner, or when settled in a comfortable easy-chair. One must sit up, and think, and be alert when he reads Browning. If we accept these conditions, we shall probably find that Browning is the most stimulating¹⁷¹ poet in our language. His influence upon our life is positive and tremendous. His strength, his joy of life, his robust¹⁷² faith, and his invincible¹⁷³ optimism enter into us, making us different and better men after reading him. And perhaps the best thing he can say of Browning is that his thought is slowly but surely taking possession of all well-educated men and women.

Life. Browning's father was outwardly a business man, a clerk for fifty years in the Bank of England; inwardly he was an interesting combination of the scholar and the artist, with the best tastes of both. His mother was a sensitive, musical woman, evidently very lovely in character, the daughter of a German shipowner and merchant who had settled in Scotland. She was of Celtic descent, and Carlyle describes her as the true type of a Scottish gentlewoman. From his neck down, Browning was the typical Briton,--short, stocky, large-chested, robust; but even in the lifeless portrait his face changes as we view it from different angles. Now it is like an English business man, now like a German scientist, and now it has a curious suggestion of Uncle Remus,--these being, no doubt, so many different reflections of his mixed and unremembered ancestors.

He was born in Camberwell, on the outskirts¹⁷⁴ of London, in 1812. From his home and from his first school, at Peckham, he could see London; and the city lights by night and the smoky chimneys by day had the same powerful fascination¹⁷⁵ for the child that the woods and fields and the beautiful country had for his friend Tennyson. His schooling¹⁷⁶ was short and desultory¹⁷⁷, his education being attended to by private tutors and by his father, who left the boy largely to follow his own inclination¹⁷⁸. Like the young Milton, Browning was fond of music, and in many of his poems, especially in "Abt Vogler" and "A Toccata of Galuppi's," he interprets the musical temperament¹⁷⁹ better, perhaps, than any other writer in our literature. But unlike Milton, through whose poetry there runs a great melody, music seems to have had no consistent effect upon his verse, which is often so jarring that one must wonder how a musical ear could have endured it.

Like Tennyson, this boy found his work very early, and for fifty years hardly a week passed that he did not write poetry. He began at six to produce verses, in imitation of Byron; but fortunately this early work has been lost. Then he fell under the influence of Shelley, and his first known work, Pauline (1833), must be considered as a tribute to Shelley and his poetry. Tennyson's earliest work, Poems by Two Brothers, had been published and well paid for, five years before; but Browning could find no publisher who would even consider Pauline, and the work was published by means of money furnished by an indulgent relative. This poem received scant¹⁸⁰ notice from the reviewers, who had pounced¹⁸¹ like hawks¹⁸² on a dovecote upon Tennyson's first two modest volumes. Two years later appeared Paracelsus, and then his tragedy Strafford was put upon the stage; but not till Sordello was published, in 1840, did he attract attention enough to be denounced for the obscurity and vagaries¹⁸³ of his style. Six years later, in 1846, he suddenly became famous, not because he finished in that year his Bells and Pomegranates (which is Browning's symbolic name for "poetry and thought" or "singing and sermonizing"), but because he eloped with the best known literary woman in England, Elizabeth Barrett, whose fame was for many years, both before and after her marriage, much greater than Browning's, and who was at first considered superior to Tennyson. Thereafter, until his own work compelled attention, he was known chiefly as the man who married Elizabeth Barrett. For years this lady had been an almost helpless invalid¹⁸⁴, and it seemed a quixotic thing when Browning, having failed to gain her family's consent to the marriage, carried her off romantically. Love and Italy proved better than her physicians, and for fifteen years Browning and his wife lived an ideally happy life in Pisa and in Florence. The exquisite romance of their love is preserved in Mrs. Browning's Sonnets¹⁸⁵ from the Portuguese¹⁸⁶, and in the volume of Letters recently published,--wonderful letters, but so tender and intimate that it seems almost a sacrilege for inquisitive¹⁸⁷ eyes to read them.

Mrs. Browning died in Florence in 1861. The loss seemed at first too much to bear, and Browning fled with his son to England. For the remainder of his life he lived alternately in London and in various parts of Italy, especially at the Palazzo Rezzonico, in Venice, which is now an object of pilgrimage to almost every tourist who visits the beautiful city. Wherever he went he mingled with men and women, sociable, well dressed, courteous¹⁸⁸, loving crowds and popular applause, the very reverse of his friend Tennyson. His earlier work had been much better appreciated in America than in England; but with the publication of The Ring and the Book, in 1868, he was at last recognized by his countrymen as one of the greatest of English poets. He died in Venice, on December 12, 1889, the same day that saw the publication of his last work, Asolando. Though Italy offered him an honored resting place, England claimed him for her own, and he lies buried beside Tennyson in Westminster Abbey. The spirit of his whole life is magnificently expressed in his own lines, in the Epilogue of his last book:

    One who never turned his back, but marched breast forward,
            Never doubted clouds would break,
    Never dreamed, tho' right were worsted, wrong would triumph,
            Held we fall to rise, are baffled to fight better,
                                      Sleep to wake.

Works. A glance at even the titles which Browning gave to his best known volumes--Dramatic Lyrics (1842), Dramatic Romances and Lyrics (1845), Men and Women (1853), Dramatis Persona (1864)--will suggest how strong the dramatic element is in all his work. Indeed, all his poems may be divided into three classes,--pure dramas, like Strafford and A Blot¹⁸⁹ in the 'Scutcheon; dramatic narratives¹⁹⁰, like Pippa Passes, which are dramatic in form, but were not meant to be acted; and dramatic lyrics, like The Last Ride Together, which are short poems expressing some strong personal emotion, or describing some dramatic episode in human life, and in which the hero himself generally tells the story.

Browning and ShakespeareThough Browning is often compared with Shakespeare, the reader will understand that he has very little of Shakespeare's dramatic talent. He cannot bring a group of people together and let the actions and words of his characters show us the comedy and tragedy of human life. Neither can the author be disinterested¹⁹¹, satisfied, as Shakespeare was, with life itself, without drawing any moral conclusions. Browning has always a moral ready, and insists upon giving us his own views of life, which Shakespeare never does. His dramatic power lies in depicting¹⁹² what he himself calls the history of a soul. Sometimes, as in Paracelsus, he endeavors to trace the progress of the human spirit. More often he takes some dramatic moment in life, some crisis in the ceaseless struggle between good and evil, and describes with wonderful insight the hero's own thoughts and feelings; but he almost invariably tells us how, at such and such a point, the good or the evil in his hero must inevitably¹⁹³ have triumphed. And generally, as in "My Last Duchess," the speaker adds a word here and there, aside from the story, which unconsciously shows the kind of man he is. It is this power of revealing the soul from within that causes Browning to fascinate those who study him long enough. His range is enormous, and brings all sorts and conditions of men under analysis. The musician in "Abt Vogler," the artist in "Andrea del Sarto," the early Christian¹⁹⁴ in "A Death in the Desert," the Arab horseman in "Muteykeh," the sailor in "Herve Kiel," the medi?val knight¹³⁰ in "Childe Roland," the Hebrew in "Saul," the Greek in "Balaustion's Adventure," the monster in "Caliban," the immortal dead in "Karshish,"--all these and a hundred more histories of the soul show Browning's marvelous versatility¹⁹⁶. It is this great range of sympathy with many different types of life that constitutes Browning's chief likeness¹⁹⁷ to Shakespeare, though otherwise there is no comparison between the two men.

First Period of WorkIf we separate all these dramatic poems into three main periods,--the early, from 1833 to 1841; the middle, from 1841 to 1868; and the late, from 1868 to 1889,--the work of the beginner will be much more easily designated. Of his early soul studies, Pauline (1833), Paracelsus (1835), and Sordello (1840), little need be said here, except perhaps this: that if we begin with these works, we shall probably never read anything else by Browning. And that were a pity. It is better to leave these obscure works until his better poems have so attracted us to Browning that we will cheerfully endure his worst faults for the sake of his undoubted virtues¹⁹⁹. The same criticism applies, though in less degree, to his first drama, Strafford (1837), which belongs to the early period of his work.

Second period The merciless criticism which greeted Sordello had a wholesome²⁰⁰ effect on Browning, as is shown in the better work of his second period. Moreover, his new power was developing rapidly, as may be seen by comparing the eight numbers of his famous Bells and Pomegranates series (1841-1846) with his earlier work. Thus, the first number of this wonderful series, published in 1841, contains Pippa Passes, which is, on the whole, the most perfect of his longer poems; and another number contains A Blot in the 'Scutcheon, which is the most readable of his dramas. Even a beginner must be thrilled by the beauty and the power of these two works. Two other noteworthy dramas of the period are Colombe's Birthday (1844) and In a Balcony (1855), which, however, met with scant appreciation²⁰¹ on the stage, having too much subtle analysis and too little action to satisfy the public. Nearly all his best lyrics, dramas, and dramatic poems belong to this middle period of labor; and when The Ring and the Book appeared, in 1868, he had given to the world the noblest expression of his poetic genius.

Third PeriodIn the third period, beginning when Browning was nearly sixty years old, he wrote even more industriously²⁰³ than before, and published on an average nearly a volume of poetry a year. Such volumes as Fifine at the Fair, Red Cotton Night-Cap Country, The Inn Album, Jocoseria, and many others, show how Browning gains steadily in the power of revealing the hidden springs of human action; but he often rambles²⁰⁴ most tiresomely²⁰⁵, and in general his work loses in sustained interest. It is perhaps significant that most of his best work was done under Mrs. Browning's influence.

What to Read. Of the short miscellaneous poems there is such an unusual variety that one must hesitate a little in suggesting this or that to the beginner's attention. "My Star," "Evelyn Hope," "Wanting is--What?" "Home Thoughts from Abroad," "Meeting at Night," "One Word More" (an exquisite tribute to his dead wife), "Prospice" (Look Forward); songs from Pippa Passes; various love poems like "By the Fireside" and "The Last Ride Together"; the inimitable "Pied Piper," and the ballads like "Hervé Riel" and "How They Brought the Good News,"--these are a mere suggestion, expressing only the writer's personal preference; but a glance at the contents of Browning's volumes will reveal scores of other poems, which another writer might recommend as being better in themselves or more characteristic of Browning.[237]

Soul StudiesAmong Browning's dramatic soul studies there is also a very wide choice. "Andrea del Sarto" is one of the best, revealing as it does the strength and the weakness of "the perfect painter," whose love for a soulless woman with a pretty face saddens his life and hampers²⁰⁶ his best work. Next in importance to "Andrea" stands "An Epistle," reciting the experiences of Karshish, an Arab physician, which is one of the best examples of Browning's peculiar²⁰⁷ method of presenting the truth. The half-scoffing, half-earnest, and wholly bewildered state of this Oriental scientist's mind is clearly indicated between the lines of his letter to his old master. His description of Lazarus, whom he meets by chance, and of the state of mind of one who, having seen the glories of immortality, must live again in the midst of the jumble²⁰⁹ of trivial and stupendous things which constitute our life, forms one of the most original and suggestive poems in our literature. "My Last Duchess" is a short but very keen analysis of the soul of a selfish man, who reveals his character unconsciously by his words of praise concerning his dead wife's picture. In "The Bishop²¹⁰ Orders his Tomb" we have another extraordinarily²¹¹ interesting revelation of the mind of a vain and worldly man, this time a churchman, whose words tell you far more than he dreams about his own character. "Abt Vogler," undoubtedly one of Browning's finest poems, is the study of a musician's soul. "Muléykeh" gives us the soul of an Arab, vain and proud of his fast horse, which was never beaten in a race. A rival steals the horse and rides away upon her back; but, used as she is to her master's touch, she will not show her best pace to the stranger. Muléykeh rides up furiously; but instead of striking the thief from his saddle, he boasts about his peerless mare²¹², saying that if a certain spot on her neck were touched with the rein²¹³, she could never be overtaken. Instantly the robber touches the spot, and the mare answers with a burst of speed that makes pursuit hopeless. Muléykeh has lost his mare; but he has kept his pride in the unbeaten one, and is satisfied. "Rabbi Ben Ezra," which refuses analysis, and which must be read entire to be appreciated, is perhaps the most quoted of all Browning's works, and contains the best expression of his own faith in life, both here and hereafter. All these wonderful poems are, again, merely a suggestion. They indicate simply the works to which one reader turns when he feels mentally vigorous enough to pick up Browning. Another list of soul studies, citing "A Toccata of Galuppi's," "A Grammarian's Funeral," "Fra Lippo Lippi," "Saul," "Cleon," "A Death in the Desert," and "Soliloquy of the Spanish Cloister²¹⁴," might, in another's judgment, be more interesting and suggestive.

[Pippa Passes] Among Browning's longer poems there are two, at least, that well deserve our study. Pippa Passes, aside from its rare poetical qualities, is a study of unconscious influence. The idea of the poem was suggested to Browning while listening to a gypsy girl singing in the woods near his home; but he transfers the scene of the action to the little mountain town of Asolo, in Italy. Pippa is a little silk weaver²¹⁵, who goes out in the morning to enjoy her one holiday of the whole year. As she thinks of her own happiness she is vaguely wishing that she might share it, and do some good. Then, with her childish imagination, she begins to weave a little romance in which she shares in the happiness of the four greatest and happiest people in Asolo. It never occurs to her that perhaps there is more of misery²¹⁶ than of happiness in the four great ones of whom she dreams; and so she goes on her way singing,

    The year's at the spring
    And day's at the morn;
    Morning's at seven;
    The hillside's dew-pearled;
    The lark's on the wing;
    The snail's on the thorn:
    God's in his heaven--
    All's right with the world!

Fate wills it that the words and music of her little songs should come to the ears of four different groups of people at the moment when they are facing the greatest crises of their lives, and turn the scale from evil to good. But Pippa knows nothing of this. She enjoys her holiday, and goes to bed still singing, entirely ignorant of the good she has done in the world. With one exception, it is the most perfect of all Browning's works. At best it is not easy, nor merely entertaining reading; but it richly repays whatever hours we spend in studying it.

The Ring and the BookThe Ring and the Book is Browning's masterpiece. It is an immense poem, twice as long as Paradise Lost, and longer by some two thousand lines than the Iliad; and before we begin the undoubted task of reading it, we must understand that there is no interesting story or dramatic development to carry us along. In the beginning we have an outline of the story, such as it is--a horrible story of Count Guido's murder of his beautiful young wife; and Browning tells us in detail just when and how he found a book containing the record of the crime and the trial. There the story element ends, and the symbolism of the book begins. The title of the poem is explained by the habit of the old Etruscan goldsmiths who, in making one of their elaborately chased rings, would mix the pure gold with an alloy²¹⁷, in order to harden it. When the ring was finished, acid was poured upon it; and the acid ate out the alloy, leaving the beautiful design in pure gold. Browning purposes to follow the same plan with his literary material, which consists simply of the evidence given at the trial of Guido in Rome, in 1698. He intends to mix a poet's fancy with the crude facts, and create a beautiful and artistic work.

The result of Browning's purpose is a series of monologues²¹⁹, in which the same story is retold nine different times by the different actors in the drama. The count, the young wife, the suspected priest, the lawyers, the Pope who presides at the trial,--each tells the story, and each unconsciously reveals the depths of his own nature in the recital²²⁰. The most interesting of the characters are Guido, the husband, who changes from bold defiance²²¹ to abject²²² fear; Caponsacchi, the young priest, who aids the wife in her flight from her brutal⁷⁶ husband, and is unjustly accused of false motives; Pompilia, the young wife, one of the noblest characters in literature, fit in all respects to rank with Shakespeare's great heroines; and the Pope, a splendid figure, the strongest of all Browning's masculine characters. When we have read the story, as told by these four different actors, we have the best of the poet's work, and of the most original poem in our language.

Browning and TennysonBrowning's Place and Message. Browning's place in our literature will be better appreciated by comparison with his friend Tennyson, whom we have just studied. In one respect, at least, these poets are in perfect accord. Each finds in love the supreme purpose and meaning of life. In other respects, especially in their methods of approaching the truth, the two men are the exact opposites. Tennyson is first the artist and then the teacher; but with Browning the message is always the important thing, and he is careless, too careless, of the form in which it is expressed. Again, Tennyson is under the influence of the romantic revival, and chooses his subjects daintily; but "all's fish" that comes to Browning's net. He takes comely²²³ and ugly subjects with equal pleasure, and aims to show that truth lies hidden in both the evil and the good. This contrast is all the more striking when we remember that Browning's essentially scientific attitude was taken by a man who refused to study science. Tennyson, whose work is always artistic, never studied art, but was devoted²²⁴ to the sciences; while Browning, whose work is seldom artistic in form, thought that art was the most suitable subject for a man's study.

Browning's MessageThe two poets differ even more widely in their respective messages. Tennyson's message reflects the growing order of the age, and is summed up in the word "law." in his view, the individual will must be suppressed; the self must always be subordinate. His resignation is at times almost Oriental in its fatalism, and occasionally it suggests Schopenhauer in its mixture of fate and pessimism. Browning's message, on the other hand, is the triumph of the individual will over all obstacles; the self is not subordinate but supreme. There is nothing Oriental, nothing doubtful, nothing pessimistic in the whole range of his poetry. His is the voice of the Anglo-Saxon, standing²²⁵ up in the face of all obstacles and saying, "I can and I will." He is, therefore, far more radically²²⁷ English than is Tennyson; and it may be for this reason that he is the more studied, and that, while youth delights in Tennyson, manhood is better satisfied with Browning. Because of his invincible will and optimism, Browning is at present regarded as the poet who has spoken the strongest word of faith to an age of doubt. His energy, his cheerful courage, his faith in life and in the development that awaits us beyond the portals of death, are like a bugle-call to good living. This sums up his present influence upon the minds of those who have learned to appreciate him. Of the future we can only say that, both at home and abroad, he seems to be gaining steadily in appreciation as the years go by.

MINOR POETS OF THE VISTORIAN AGE

Elizabeth Barrett. Among the minor poets of the past century Elizabeth Barrett (Mrs. Browning) occupies perhaps the highest place in popular favor. She was born at Coxhoe Hall, near Durham, in 1806; but her childhood and early youth were spent in Herefordshire, among the Malvern Hills made famous by Piers²²⁸ Plowman. In 1835 the Barrett family moved to London, where Elizabeth gained a literary reputation by the publication of The Seraphim²²⁹ and Other Poems (1838). Then illness and the shock caused by the tragic²³⁰ death of her brother, in 1840, placed her frail²³¹ life in danger, and for six years she was confined to her own room. The innate²³² strength and beauty of her spirit here showed itself strongly in her daily study, her poetry, and especially in her interest in the social problems which sooner or later occupied all the Victorian writers. "My mind to me a kingdom is" might well have been written over the door of the room where this delicate invalid worked and suffered in loneliness and in silence.

In 1844 Miss Barrett published her Poems, which, though somewhat impulsive²³³ and overwrought, met with remarkable public favor. Such poems as "The Cry of the Children," which voices the protest of humanity against child labor, appealed tremendously to the readers of the age, and this young woman's fame as a poet temporarily overshadowed that of Tennyson and Browning. Indeed, as late as 1850, when Wordsworth died, she was seriously considered for the position of poet laureate, which was finally given to Tennyson. A reference to Browning, in "Lady Geraldine's Courtship," is supposed to have first led the poet to write to Miss Barrett in 1845. Soon afterwards he visited the invalid; they fell in love almost at first sight, and the following year, against the wishes of her father,--who was evidently a selfish old tyrant²³⁵,--Browning carried her off and married her. The exquisite romance of their love is reflected in Mrs. Browning's Sonnets from the Portuguese (1850). This is a noble and inspiring book of love poems; and Stedman regards the opening sonnet, "I thought once how Theocritus had sung," as equal to any in our language.

For fifteen years the Brownings lived an ideally happy life at Pisa, and at Casa Guidi, Florence, sharing the same poetical ambitions. And love was the greatest thing in the world,--

    How do I love thee? Let me count the ways.
    I love thee to the depth and breadth and height
    My soul can reach, when feeling out of sight
    For the ends of Being and ideal Grace.
    I love thee to the level of everyday's
    Most quiet need, by sun and candlelight.
    I love thee freely, as men strive for Right;
    I love thee purely, as they turn from Praise;
    I love thee with the passion put to use
    In my old griefs, and with my childhood's faith;
    I love thee with a love I seemed to lose
    With my lost saints--I love thee with the breath,
    Smiles, tears, of all my life!--and, if God choose,
    I shall but love thee better after death.

Mrs. Browning entered with whole-souled enthusiasm into the aspirations²³⁶ of Italy in its struggle against the tyranny of Austria; and her Casa Guidi Windows (1851) is a combination of poetry and politics, both, it must be confessed, a little too emotional. In 1856 she published Aurora²³⁷ Leigh, a novel in verse, having for its hero a young social reformer, and for its heroine a young woman, poetical and enthusiastic, who strongly suggests Elizabeth Barrett herself. It emphasizes in verse precisely the same moral and social ideals which Dickens and George Eliot were proclaiming in all their novels. Her last two volumes were Poems before Congress (1860), and Last Poems, published after her death. She died suddenly in 1861 and was buried in Florence. Browning's famous line, "O lyric love, half angel and half bird," may well apply to her frail life and aerial spirit.

Illustration: MRS. BROWNING
MRS. BROWNING

Rossetti. Dante Gabriel Rossetti (1828-1882), the son of an exiled Italian painter and scholar, was distinguished both as a painter and as a poet. He was a leader in the Pre-Raphaelite movement[238] and published in the first numbers of The Germ his "Hand and Soul," a delicate prose study, and his famous "The Blessed Damozel," beginning,

    The blessed damozel leaned out
        From the gold bar of Heaven;
    Her eyes were deeper than the depth
        Of waters stilled at even;
    She had three lilies in her hand,
        And the stars in her hair were seven.

These two early works, especially "The Blessed Damozel," with its simplicity and exquisite spiritual quality, are characteristic of the ideals of the Pre-Raphaelites.

In 1860, after a long engagement, Rossetti married Elizabeth Siddal, a delicate, beautiful English girl, whom he has immortalized both in his pictures and in his poetry. She died two years later, and Rossetti never entirely recovered from the shock. At her burial he placed in her coffin²⁰⁸ the manuscripts of all his unpublished poems, and only at the persistent²³⁸ demands of his friends did he allow them to be exhumed²³⁹ and printed in 1870. The publication of this volume of love poems created a sensation in literary circles, and Rossetti was hailed as one of the greatest of living poets. In 1881 he published his Ballads and Sonnets, a remarkable volume containing, among other poems, "The Confession," modeled after Browning; "The Ballad¹³⁹ of Sister Helen," founded on a medi?val superstition²⁴⁰; "The King's Tragedy," a masterpiece of dramatic narrative; and "The House of Life," a collection of one hundred and one sonnets reflecting the poet's love and loss. This last collection deserves to rank with Mrs. Browning's Sonnets from the Portuguese and with Shakespeare's Sonnets, as one of the three great cycles of love poems in our language. It has been well said that both Rossetti and Morris paint pictures as well in their poems as on their canvases, and this pictorial²⁴¹ quality of their verse is its chief characteristic.

Morris. William Morris (1834-1896) is a most interesting combination of literary man and artist. In the latter capacity, as architect, designer, and manufacturer of furniture, carpets, and wall paper, and as founder²⁴² of the Kelmscott Press for artistic printing and bookbinding, he has laid us all under an immense debt of gratitude²⁴³. From boyhood he had steeped himself in the legends and ideals of the Middle Ages, and his best literary work is wholly medi?val in spirit. The Earthly Paradise (1868-1870) is generally regarded as his masterpiece. This delightful collection of stories in verse tells of a roving band of Vikings, who are wrecked²⁴⁴ on the fabled²⁴⁵ island of Atlantis, and who discover there a superior race of men having the characteristics of ideal Greeks. The Vikings remain for a year, telling stories of their own Northland, and listening to the classic and Oriental tales of their hosts. Morris's interest in Icelandic literature is further shown by his Sigurd the Volsung, an epic founded upon one of the old sagas²⁴⁶, and by his prose romances, The House of the Wolfings, The Story of the Glittering Plain, and The Roots of the Mountains. Later in life he became deeply interested in socialism, and two other romances, The Dream of John Ball and News from Nowhere, are interesting as modern attempts at depicting an ideal society governed by the principles of More's Utopia.

Swinburne. Algernon Charles Swinburne (1837-1909) is, chronologically²⁴⁷, the last of the Victorian poets. As an artist in technique--having perfect command of all old English verse forms and a remarkable faculty for inventing new--he seems at the present time to rank among the best in our literature. Indeed, as Stedman says, "before his advent¹⁹⁵ we did not realize the full scope of English verse." This refers to the melodious¹⁶⁵ and constantly changing form rather than to the content of Swinburne's poetry. At the death of Tennyson, in 1892, he was undoubtedly the greatest living poet, and only his liberal opinions, his scorn of royalty²⁴⁸ and of conventions, and the prejudice aroused by the pagan spirit of his early work prevented his appointment as poet laureate. He has written a very large number of poems, dramas, and essays in literary criticism; but we are still too near to judge of the permanence of his work or of his place in literature. Those who would read and estimate his work for themselves will do well to begin with a volume of selected poems, especially those which show his love of the sea and his exquisite appreciation of child life. His Atalanta in Calydon (1864), a beautiful lyric drama modeled on the Greek tragedy, is generally regarded as his masterpiece. In all his work Swinburne carries Tennyson's love of melody to an extreme, and often sacrifices sense to sound. His poetry is always musical, and, like music, appeals almost exclusively to the emotions.

We have chosen, somewhat arbitrarily, these four writers--Mrs. Browning, D. G. Rossetti, Morris, and Swinburne--as representative of the minor poets of the age; but there are many others who are worthy of study,--Arthur Hugh Clough and Matthew Arnold,[239] who are often called the poets of skepticism, but who in reality represent a reverent²⁴⁹ seeking for truth through reason and human experience; Frederick William Faber, the Catholic mystic, author of some exquisite hymns²⁵⁰; and the scholarly John Keble, author of The Christian Year, our best known book of devotional verse; and among the women poets, Adelaide Procter, Jean Ingelow, and Christina Rossetti, each of whom had a large, admiring circle of readers. It would be a hopeless task at the present time to inquire into the relative merits of all these minor poets. We note only their careful workmanship and exquisite melody, their wide range of thought and feeling, their eager search for truth, each in his own way, and especially the note of freshness and vitality²⁵¹ which they have given to English poetry.

II. THE NOVELISTS OF THE VICTORIAN AGE

CHARLES DICKENS (1812-1870)

When we consider Dickens's life and work, in comparison with that of the two great poets we have been studying, the contrast is startling. While Tennyson and Browning were being educated for the life of literature, and shielded most tenderly from the hardships of the world, Dickens, a poor, obscure, and suffering child, was helping²⁵² to support a shiftless family by pasting labels on blacking bottles, sleeping under a counter like a homeless cat, and once a week timidly approaching the big prison where his father was confined for debt. In 1836 his Pickwick was published, and life was changed as if a magician had waved his wand over him. While the two great poets were slowly struggling for recognition, Dickens, with plenty of money and too much fame, was the acknowledged literary hero of England, the idol²⁵³ of immense audiences which gathered to applaud him wherever he appeared. And there is also this striking contrast between the novelist and the poets,--that while the whole tendency of the age was toward realism, away from the extremes of the romanticists and from the oddities and absurdities²⁵⁴ of the early novel writers, it was precisely by emphasizing oddities and absurdities, by making caricatures rather than characters, that Dickens first achieved his popularity.

Life. In Dickens's early life we see a stern but unrecognized preparation for the work that he was to do. Never was there a better illustration of the fact that a boy's early hardship and suffering are sometimes only divine messengers disguised, and that circumstances which seem only evil are often the source of a man's strength and of the influence which he is to wield²⁵⁶ in the world. He was the second of eight poor children, and was born at Landport in 1812. His father, who is supposed to be the original of Mr. Micawber, was a clerk in a navy office. He could never make both ends meet, and after struggling with debts in his native town for many years, moved to London when Dickens was nine years old. The debts still pursued him, and after two years of grandiloquent²⁵⁷ misfortune he was thrown into the poor-debtors²⁵⁸' prison. His wife, the original of Mrs. Micawber, then set up the famous Boarding Establishment for Young Ladies; but, in Dickens's words, no young ladies ever came. The only visitors were creditors²⁵⁹, and they were quite ferocious²⁶⁰. In the picture of the Micawber family, with its tears and smiles and general shiftlessness, we have a suggestion of Dickens's own family life.

At eleven years of age the boy was taken out of school and went to work in the cellar of a blacking factory. At this time he was, in his own words, a "queer small boy," who suffered as he worked; and we can appreciate the boy and the suffering more when we find both reflected in the character of David Copperfield. It is a heart-rending picture, this sensitive child working from dawn till dark for a few pennies, and associating with toughs and waifs in his brief intervals of labor; but we can see in it the sources of that intimate knowledge of the hearts of the poor and outcast which was soon to be reflected in literature and to startle all England by its appeal for sympathy. A small legacy²⁶¹ ended this wretchedness, bringing the father from the prison and sending the boy to Wellington House Academy,--a worthless and brutal school, evidently, whose head master was, in Dickens's words, a most ignorant fellow and a tyrant. He learned little at this place, being interested chiefly in stories, and in acting²⁶² out the heroic parts which appealed to his imagination; but again his personal experience was of immense value, and resulted in his famous picture of Dotheboys Hall, in Nicholas Nickleby, which helped largely to mitigate¹⁹ the evils of private schools in England. Wherever he went, Dickens was a marvelously keen observer, with an active imagination which made stories out of incidents and characters that ordinary men would have hardly noticed. Moreover he was a born actor, and was at one time the leading spirit of a band of amateurs who gave entertainments for charity all over England. These three things, his keen observation, his active imagination, and the actor's spirit which animated²⁶³ him, furnish a key to his life and writings.

Illustration: CHARLES DICKENS After the portrait by Daniel Maclise
CHARLES DICKENS After the portrait by Daniel Maclise

When only fifteen years old, he left the school and again went to work, this time as clerk in a lawyer's office. By night he studied shorthand, in order to fit himself to be a reporter,--this in imitation of his father, who was now engaged by a newspaper to report the speeches in Parliament. Everything that Dickens attempted seems to have been done with vigor and intensity²⁶⁴, and within two years we find him reporting important speeches, and writing out his notes as the heavy coach lurched and rolled through the mud of country roads on its dark way to London town. It was largely during this period that he gained his extraordinary knowledge of inns and stables and "horsey" persons, which is reflected in his novels. He also grew ambitious, and began to write on his own account. At the age of twenty-one he dropped his first little sketch²⁶⁵ "stealthily, with fear and trembling, into a dark letter-box, in a dark office up a dark court in Fleet Street." The name of this first sketch was "Mr. Minns and his Cousin," and it appeared with other stories in his first book, Sketches²⁶⁶ by Boz, in 1835. One who reads these sketches now, with their intimate knowledge of the hidden life of London, can understand Dickens's first newspaper success perfectly¹⁵⁷. His best known work, Pickwick, was published serially²⁶⁸ in 1836-1837, and Dickens's fame and fortune were made. Never before had a novel appeared so full of vitality and merriment. Though crude in design, a mere jumble of exaggerated characters and incidents, it fairly bubbled over with the kind of humor in which the British public delights, and it still remains²⁶⁹, after three quarters of a century, one of our most care-dispelling books.

The remainder of Dickens's life is largely a record of personal triumphs. Pickwick was followed rapidly by Oliver Twist, Nicholas Nickleby, Old Curiosity Shop, and by many other works which seemed to indicate that there was no limit to the new author's invention of odd, grotesque²⁷⁰, uproarious, and sentimental²⁷¹ characters. In the intervals of his novel writing he attempted several times to edit a weekly paper; but his power lay in other directions, and with the exception of Household Words, his journalistic ventures were not a marked success. Again the actor came to the surface, and after managing a company of amateur actors successfully, Dickens began to give dramatic readings from his own works. As he was already the most popular writer in the English language, these readings were very successful. Crowds thronged²⁷² to hear him, and his journeys became a continuous ovation²⁷³. Money poured into his pockets from his novels and from his readings, and he bought for himself a home, Gadshill Place, which he had always desired, and which is forever associated with his memory. Though he spent the greater part of his time and strength in travel at this period, nothing is more characteristic of the man than the intense energy with which he turned from his lecturing to his novels, and then, for relaxation²⁷⁴, gave himself up to what he called the magic lantern of the London streets.

In 1842, while still a young man, Dickens was invited to visit the United States and Canada, where his works were even better known than in England, and where he was received as the guest of the nation and treated with every mark of honor and appreciation. At this time America was, to most Europeans, a kind of huge fairyland, where money sprang out of the earth, and life was happy as a long holiday. Dickens evidently shared this rosy²⁷⁵ view, and his romantic expectations were naturally disappointed. The crude, unfinished look of the big country seems to have roused a strong prejudice in his mind, which was not overcome at the time of his second visit, twenty-five years later, and which brought forth²⁷⁶ the harsh criticism of his American Notes (1842) and of Martin Chuzzlewit (1843-1844). These two unkind books struck a false note, and Dickens began to lose something of his great popularity. In addition he had spent money beyond his income. His domestic life, which had been at first very happy, became more and more irritating, until he separated from his wife in 1858. To get inspiration, which seemed for a time to have failed, he journeyed to Italy, but was disappointed. Then he turned back to the London streets, and in the five years from 1848 to 1853 appeared Dombey and Son, David Copperfield, and Bleak²⁷⁷ House,--three remarkable novels, which indicate that he had rediscovered his own power and genius. Later he resumed the public readings, with their public triumph and applause, which soon came to be a necessity to one who craved²⁷⁸ popularity as a hungry man craves²⁷⁹ bread. These excitements exhausted²⁸⁰ Dickens, physically²⁸¹ and spiritually, and death was the inevitable result. He died in 1870, over his unfinished Edwin Drood, and was buried in Westminster Abbey.

Dickens's Work in View of his Life. A glance through even this unsatisfactory biography gives us certain illuminating²⁸² suggestions in regard to all of Dickens's work. First, as a child, poor and lonely, longing²⁸³ for love and for society, he laid the foundation for those heartrending pictures of children, which have moved so many readers to unaccustomed tears. Second, as clerk in a lawyer's office and in the courts, he gained his knowledge of an entirely different side of human life. Here he learned to understand both the enemies and the victims of society, between whom the harsh laws of that day frequently made no distinction. Third, as a reporter, and afterwards as manager of various newspapers, he learned the trick of racy writing, and of knowing to a nicety what would suit the popular taste. Fourth, as an actor, always an actor in spirit, he seized upon every dramatic possibility, every tense situation, every peculiarity²⁸⁴ of voice and gesture in the people whom he met, and reproduced these things in his novels, exaggerating them in the way that most pleased his audience.

When we turn from his outward training to his inner disposition²⁸⁵ we find two strongly marked elements. The first is his excessive imagination, which made good stories out of incidents that ordinarily pass unnoticed, and which described the commonest things--a street, a shop, a fog, a lamp-post, a stagecoach--with a wealth of detail and of romantic suggestion that makes many of his descriptions like lyric poems. The second element is his extreme sensibility, which finds relief only in laughter and tears. Like shadow and sunshine these follow one another closely throughout all his books.

Dickens and his PublicRemembering these two things, his training and disposition, we can easily foresee the kind of novel he must produce. He will be sentimental, especially over children and outcasts; he will excuse the individual in view of the faults of society; he will be dramatic or melodramatic; and his sensibility will keep him always close to the public, studying its tastes and playing with its smiles and tears. If pleasing the public be in itself an art, then Dickens is one of our greatest artists. And it is well to remember that in pleasing his public there was nothing of the hypocrite or demagogue in his make-up. He was essentially a part of the great drifting panoramic²⁸⁶ crowd that he loved. His sympathetic soul made all their joys and griefs his own. He fought against injustice²⁸⁷; he championed the weak against the strong; he gave courage to the faint, and hope to the weary in heart; and in the love which the public gave him in return he found his best reward. Here is the secret of Dickens's unprecedented²⁸⁸ popular success, and we may note here a very significant parallel with Shakespeare. The great different in the genius and work of the two men does not change the fact that each won success largely because he studied and pleased his public.

General Plan of Dickens's Novels. An interesting suggestion comes to us from a study of the conditions which led to Dickens's first three novels. Pickwick was written, at the suggestion of an editor, for serial²⁶⁷ publication. Each chapter was to be accompanied by a cartoon by Seymor (a comic artist of the day), and the object was to amuse the public, and, incidentally, to sell the paper. The result was a series of characters and scenes and incidents which for vigor and boundless fun have never been equaled in our language. Thereafter, no matter what he wrote, Dickins was lbeled a humorist. Like a certain American writer of our own generation, everything he said, whether for a feast or a funeral, was spposed to contain a laugh. In a word, he was the victim of his own book. Dickens was keen enough to understand his danger, and his next novel, Oliver Twist, had the serious purpose of mitigating²⁸⁹ the evils under which the poor were suffering. Its hero was a poor child, the unfortunate victim of society; and, in order to draw attention to the real need, Dickens exaggerated the woeful condition of the poor, and filled his pages with sentiment which easily slipped over into sentimentality. This also was a popular success, and in his third novel, Nicholas Nickleby, and indeed in most of his remaining works, Dickens combined the principles of his first two books, giving us mirth on the one hand, injustice and suffering on the other; mingling²⁹¹ humor and pathos²⁹², tears and laughter, as we find them in life itself. And in order to increase the lights and shadows in his scenes, and to give greater dramatic effect to his narrative, he introduced odious¹⁶⁷ and lothsome characters, and made vice⁷⁸ more hateful by contrasting it with innocence²⁹³ and virtue¹⁹⁸.

His charactersWe find, therefore, in most of Dickens's novels three or four widely different types of character: first, the innocent little child, like Oliver, Joe, Paul, Tiny Tim, and Little Nell, appealing powerfully to the child love in every human heart; scond, the horrible or grotesque foil, like Sqeers, Fagin, Quilp, Uriah Heep, and Bill Sykes; third, the grandiloquent or broadly humorous fellow, the fun maker²⁹⁴, like Micawber and Sam Weller; and fourth, a tenderly or powerfully drawn²⁹⁵ figure, like Lady Deadlock²⁹⁶ of Bleak House, and Sydney Carton of A Tale of Two Cities, which rise to the dignity of true characters. We note also that most of Dickens's novels belong decidely to the class of purpose or problem novels. Thus Bleak House attacks "the law's delays"; Little Dorrit, the injustice which persecutes²⁹⁷ poor debtors; Nicholas Nickleby, the abuses of charity schools and brutal schoolmasters; and Oliver Twist, the unnecessary degradation²⁹⁸ and suffering of the poor in English workhouses. Dickens's serious purpose was to make the novel the instrument of morality and justice, and whatver we may think of the exaggeration of his characters, it is certain that his stories did more to correct the general selfishness and injustice of society toward the poor than all the works of other literary men of his age combined.

The Limitations of Dickens. Any severe criticism of Dickens as a novelist must seem, at first glance, unkind an unnecessary. In almost every house he is a welcome guest, a personal friend who has beguiled²⁹⁹ many an hour with his stories, and who has furnished us much good laughter and a few good tears. Moreover, he has always a cheery message. He emphasizes the fact that this is an excellant world; that some errors have crept into it, due largely to thoughtlessness, but that they can be easily remedied by a little human sympathy. That is a most welcome creed³⁰⁰ to an age overburdened with social problems; and to criticise¹⁰⁴ our cheery companion seems as discourteous³⁰¹ as to speak unkindly of a guest who has just left our home. But we must consider Dickens not merely as a friend, but as a novelist, and apply to his work the same standards of art which we apply to other writers; and when we do this we are sometimes a little disappointed. We must confess that his novels, while they contain many realistic details, seldom give the impression of reality. His characters, though we laugh or weep or shudder³⁰² at them, are sometimes only caricatures, each one an exaggeration of some peculiarity, which suggest Ben Jonson's Every Man in His Humour. It is Dickens's art to give his heroes sufficient reality to make them suggest certain types of men and women whom we know; but in reading him we find ourselves often in the mental state of a man who is watching through a microscope the swarming³⁰³ life of a water drop. Here are lively, bustling³⁰⁴, extraordinary creatures, some beautiful, some grotesque, but all far apart from the life that we know in daily experience. It is certainly not the reality of these characters, but rather the genius of the author in managing them, which interests us and holds our attention. Notwithstanding this criticism, which we would gladly have omitted, Dickens is excellent reading, and his novels will continue to be popular just so long as men enjoy a wholesome and absorbing story.

What to Read. Aside from the reforms in schools and prisons and workhouses which Dickens accomplished³⁰⁵, he has laid us all, rich and poor alike, under a debt of gratitude. After the year 1843 the one literary work which he never neglected was to furnish a Christmas story for his readers; and it is due in some measure to the help of these stories, brimming over with good cheer, that Christmas has become in all English-speaking countries a season of gladness, of gift giving at home, and of remembering those less fortunate than ourselves, who are still members of a common brotherhood. If we read nothing else of Dickens, once a year, at Christmas time, we should remember him and renew our youth by reading one of his holiday stories,--The Cricket on the Hearth³⁰⁶, The Chimes, and above all the unrivaled Christmas Carol. The latter especially will be read and loved as long as men are moved by the spirit of Christmas.

Tale of Two CitiesOf the novels, David Copperfield is regarded by many as Dickens's masterpiece. It is well to begin with this novel, not simply for the unusual interest of the story, but also for the glimpse it gives us of the author's own boyhood and family. For pure fun and hilarity³⁰⁷ Pickwick will always be a favorite; but for artistic finish, and for the portrayal³⁰⁸ of one great character, Sydney Carton, nothing else that Dickens wrote is comparable to A Tale of Two Cities. Here is an absorbing story, with a carefully constructed plot, and the action moves swiftly to its thrilling, inevitable conclusion. Usually Dickens introduces several pathetic or grotesque or laughable characters besides the main actors, and records various unnecessary dramatic episodes for their own sake; but in A Tale of Two Cities everything has its place in the development of the main story. There are, as usual, many characters,--Sydney Carton, the outcast, who lays down his life for the happiness of one whom he loves; Charles Darnay, an exiled young French noble; Dr. Manette, who has been "recalled to life" from a frightful³¹⁰ imprisonment³¹¹, and his gentle daughter Lucie, the heroine; Jarvis Lorry, a lovable, old-fashioned clerk in the big banking³¹² house; the terrible Madame Defarge, knitting calmly at the door of her wine shop and recording³¹³, with the ferocity of a tiger licking its chops, the names of all those who are marked for vengeance³¹⁴; and a dozen others, each well drawn, who play minor parts in the tragedy. The scene is laid in London and Paris, at the time of the French Revolution; and, though careless of historical details, Dickens reproduces the spirit of the Reign of Terror so well that A Tale of Two Cities is an excellent supplement to the history of the period. It is written in Dickens's usual picturesque³¹⁵ style, and reveals his usual imaginative outlook on life and his fondness for fine sentiments and dramatic episodes. Indeed, all his qualities are here shown, not brilliantly or garishly³¹⁶, as in other novels, but subdued³¹⁷ and softened³¹⁸, like a shaded light, for artistic effect.

Those who are interested in Dickens's growth and methods can hardly do better than to read in succession his first three novels, Pickwick, Oliver Twist, and Nicholas Nickleby, which, as we have indicated, show clearly how he passed from fun to serious purpose, and which furnish in combination the general plan of all his later works. For the rest, we can only indicate those which, in our personal judgment, seem best worth reading,--Bleak House, Dombey and Son, Our Mutual³¹⁹ Friend, and Old Curiosity Shop,--but we are not yet far enough away from the first popular success of these works to determine their permanent value and influence.

WILLIAM MAKEPEACE THACKERAY (1811-1863)

As the two most successful novelists of their day, it is natural for us, as it was for their personal friends and admirers, to compare Dickens and Thackeray with respect to their life and work, and their attitude toward the world in which they lived. Dickens, after a desperately³²⁰ hard struggle in his boyhood, without friends or higher education, comes into manhood cheery, self-confident, energetic, filled with the joy of his work; and in the world, which had at first treated him so harshly, he finds good everywhere, even in the jails and in the slums, simply because he is looking for it. Thackeray, after a boyhood spent in the best of English schools, with money, friends, and comforts of every kind, faces life timidly, distrustfully, and dislikes the literary work which makes him famous. He has a gracious and lovable personality, is kind of heart, and reveres³²¹ all that is pure and good in life; yet he is almost cynical³²² toward the world which uses him so well, and finds shams³²⁴, deceptions³²⁵, vanities everywhere, because he looks for them. One finds what one seeks in this world, but it is perhaps significant that Dickens sought his golden fleece among plain people, and Thackeray in high society. The chief difference between the two novelists, however, is not one of environment but of temperament. Put Thackeray in a workhouse, and he will still find material for another Book of Snobs³²⁶; put Dickens in society, and he cannot help finding undreamed-of possibilities among bewigged and bepowdered high lords and ladies. For Dickens is romantic and emotional, and interprets the world largely through his imagination; Thackeray is the realist and moralist, who judges solely³²⁷ by observation and reflection. He aims to give us a true picture of the society of his day, and as he finds it pervaded³²⁸ by intrigues³³⁰ and snobbery³³¹ he proceeds to satirize³³² it and point out its moral evils. In his novels he is influenced by Swift and Fielding, but he is entirely free from the bitterness of the one and the coarseness of the other, and his satire³³³ is generally softened by a noble tenderness. Taken together, the novels of Dickens and Thackeray give us a remarkable picture of all classes of English society in the middle of the nineteenth century.

Life. Thackeray was born in 1811, in Calcutta, where his father held a civil position under the Indian government. When the boy was five years old his father died, and the mother returned with her child to England. Presently she married again, and Thackeray was sent to the famous Charterhouse school, of which he has given us a vivid picture in The Newcomes. Such a school would have been a veritable heaven to Dickens, who at this time was tossed about between poverty and ambition; but Thackeray detested³³⁴ it for its rude manners, and occasionally referred to it as the "Slaughterhouse." Writing to his mother he says: "There are three hundred and seventy boys in the school. I wish, there were only three hundred and sixty-nine."

Illustration: WILLIAM MAKEPEACE THACKERAY
WILLIAM MAKEPEACE THACKERAY

In 1829 Thackeray entered Trinity College, Cambridge, but left after less than two years, without taking a degree, and went to Germany and France where he studied with the idea of becoming an artist. When he became of age, in 1832, he came into possession of a comfortable fortune, returned to England, and settled down in the Temple to study law. Soon he began to dislike the profession intensely, and we have in Pendennis a reflection of his mental attitude toward the law and the young men who studied it. He soon lost his fortune, partly by gambling³³⁵ and speculation³³⁶, partly by unsuccessful attempts at running a newspaper, and at twenty-two began for the first time to earn his own living, as an artist and illustrator. An interesting meeting between Thackeray and Dickens at this time (1836) suggests the relative importance of the two writers. Seymour, who was illustrating³³⁷ the Pickwick Papers, had just died, and Thackeray called upon Dickens with a few drawings and asked to be allowed to continue the illustrations. Dickens was at this time at the beginning of his great popularity. The better literary artist, whose drawings were refused, was almost unknown, and had to work hard for more than ten years before he received recognition. Disappointed by his failure as an illustrator, he began his literary career by writing satires³³⁸ on society for Fraser's Magazine. This was the beginning of his success; but though the Yellowplush Papers, The Great Hoggarty Diamond, Catherine, The Fitz Boodlers, The Book of Snobs, Barry Lyndon, and various other immature works made him known to a few readers of Punch and of Fraser's Magazine, it was not till the publication of Vanity Fair (1847-1848) that he began to be recognized as one of the great novelists of his day. All his earlier works are satires, some upon society, others upon the popular novelists,--Bulwer, Disraeli, and especially Dickens,--with whose sentimental heroes and heroines he had no patience whatever. He had married, meanwhile, in 1836, and for a few years was very happy in his home. Then disease and insanity fastened upon his young wife, and she was placed in an asylum³³⁹. The whole after life of our novelist was darkened by this loss worse than death. He became a man of the clubs, rather than of his own home, and though his wit and kindness made him the most welcome of clubmen, there was an undercurrent of sadness in all that he wrote. Long afterwards he said that, though his marriage ended in shipwreck³⁴⁰, he "would do it over again; for behold³⁴¹ Love is the crown and completion of all earthly good."

After the moderate success of Vanity Fair, Thackeray wrote the three novels of his middle life upon which his fame chiefly rests,--Pendennis in 1850, Henry Esmond in 1852, and The Newcomes in 1855. Dickens's great popular success as a lecturer and dramatic reader had led to a general desire on the part of the public to see and to hear literary men, and Thackeray, to increase his income, gave two remarkable courses of lectures, the first being English Humorists of the Eighteenth Century, and the second The Four Georges,--both courses being delivered with gratifying success in England and especially in America. Dickens, as we have seen, was disappointed in America and vented⁹⁴ his displeasure in outrageous³⁴² criticism; but Thackeray, with his usual good breeding, saw only the best side of his generous entertainers, and in both his public and private utterances³⁴³ emphasized the virtues of the new land, whose restless energy seemed to fascinate him. Unlike Dickens, he had no confidence in himself when he faced an audience, and like most literary men he disliked lecturing, and soon gave it up. In 1860 he became editor of the Cornhill Magazine, which prospered³⁴⁴ in his hands, and with a comfortable income he seemed just ready to do his best work for the world (which has always believed that he was capable of even better things than he ever wrote) when he died suddenly in 1863. His body lies buried in Kensal Green, and only a bust⁶⁹ does honor to his memory in Westminster Abbey.

Henry Esmond Works of Thackeray. The beginner will do well to omit the earlier satires of Thackeray, written while he was struggling to earn a living from the magazines, and open Henry Esmond (1852), his most perfect novel, though not the most widely known and read. The fine historical and literary, flavor of this story is one of its most marked characteristics, and only one who knows something of the history and literature of the eighteenth century can appreciate its value. The hero, Colonel Esmond; relates his own story, carrying the reader through the courts and camps of Queen Anne's reign, and giving the most complete and accurate picture of a past age that has ever appeared in a novel. Thackeray is, as we have said, a realist, and he begins his story by adopting the style and manner of a scholarly gentleman of the period he is describing. He has an extraordinary knowledge of eighteenth-century literature, and he reproduces its style in detail, going so far as to insert in his narrative an alleged³⁴⁵ essay from the Tatler. And so perfectly is it done that it is impossible to say wherein it differs from the style of Addison and Steele.

Realism of EsmondIn his matter also Thackeray is realistic, reflecting not the pride and pomp of war, which are largely delusions³⁴⁶, but its brutality and barbarism, which are all too real; painting generals and leaders, not as the newspaper heroes to whom we are accustomed, but as moved by intrigues, petty jealousies³⁴⁷, and selfish ambitions; showing us the great Duke of Marlborough not as the military hero, the idol of war-crazed multitudes, but as without personal honor, and governed by despicable avarice³⁴⁸. In a word, Thackeray gives us the "back stairs" view of war, which is, as a rule, totally neglected in our histories. When he deals with the literary men of the period, he uses the same frank realism, showing us Steele and Addison and other leaders, not with halos about their heads, as popular authors, but in slippers³⁴⁹ and dressing³⁵⁰ gowns, smoking a pipe in their own rooms, or else growing tipsy and hilarious³⁵¹ in the taverns,--just as they appeared in daily life. Both in style and in matter, therefore, Esmond deserves to rank as probably the best historical novel in our language.

The Plot of EsmondThe plot of the story is, like most of Thackeray's plots, very slight, but perfectly suited to the novelist's purpose. The plans of his characters fail; their ideals grow dim; there is a general disappearance³⁵² of youthful ambitions. There is a love story at the center; but the element of romance, which furnishes the light and music and fragrance³⁵³ of love, is inconspicuous. The hero, after ten years of devotion to a young woman, a paragon³⁵⁵ of beauty, finally marries her mother, and ends with a few pious³⁵⁶ observations concerning Heaven's mercy and his own happy lot. Such an ending seems disappointing, almost bizarre, in view of the romantic novels to which we are accustomed; but we must remember that Thackeray's purpose was to paint life as he saw it, and that in life men and things often take a different way from that described in romances. As we grow acquainted with Thackeray's characters, we realize that no other ending was possible to his story, and conclude that his plot, like his style, is perhaps as near perfection as a realistic novelist can ever come.

Vanity FairVanity Fair (1847--1848) is the best known of Thackeray's novels. It was his first great work, and was intended to express his own views of the social life about him, and to protest against the overdrawn³⁵⁷ heroes of popular novels. He takes for his subject that Vanity Fair to which Christian and Faithful were conducted on their way to the Heavenly City, as recorded in Pilgrim's Progress. In this fair there are many different booths, given over to the sale of "all sorts of vanities," and as we go from one to another we come in contact with "juggling³⁵⁸, cheats, games, plays, fools, apes, knaves³⁵⁹, rogues³⁶⁰, and that of every kind." Evidently this is a picture of one side of social life; but the difference between Bunyan and Thackeray is simply this,--that Bunyan made Vanity Fair a small incident in a long journey, a place through which most of us pass on our way to better things; while Thackeray, describing high society in his own day, makes it a place of long sojourn³⁶¹, wherein his characters spend the greater part of their lives. Thackeray styles this work "a novel without a hero." The whole action of the story, which is without plot or development, revolves³⁶² about two women,--Amelia, a meek³⁶³ creature of the milk-and-water type, and Becky Sharp, a keen, unprincipled intriguer³⁶⁴, who lets nothing stand in the way of her selfish desire to get the most out of the fools who largely constitute society. On the whole, it is the most powerful but not the most wholesome of Thackeray's works.

PendennisIn his second important novel, Pendennis (1849-1850), we have a continuation of the satire on society begun in Vanity Fair. This novel, which the beginner should read after Esmond, is interesting to us for two reasons,--because it reflects more of the details of Thackeray's life than all his other writings, and because it contains one powerfully drawn character who is a perpetual reminder³⁶⁵ of the danger of selfishness. The hero is "neither angel nor imp," in Thackeray's words, but the typical young man of society, whom he knows thoroughly³⁶⁶, and whom he paints exactly as he is,--a careless, good-natured but essentially selfish person, who goes through life intent on his own interests. Pendennis is a profound moral study, and the most powerful arraignment³⁶⁷ of well-meaning selfishness in our literature, not even excepting George Eliot's Romola, which it suggests.

The NewcomesTwo other novels, The Newcomes (1855) and The Virginians (1859), complete the list of Thackeray's great works of fiction. The former is a sequel to Pendennis, and the latter to Henry Esmond; and both share the general fate of sequels in not being quite equal in power or interest to their predecessors³⁶⁸. The Newcomes, however, deserves a very high place,--some critics, indeed, placing it at the head of the author's works. Like all Thackeray's novels, it is a story of human frailty³⁶⁹; but here the author's innate gentleness and kindness are seen at their best, and the hero is perhaps the most genuine and lovable of all his characters.

Thackeray's EssaysThackeray is known in English literature as an essayist as well as a novelist. His English Humorists and The Four Georges are among the finest essays of the nineteenth century. In the former especially, Thackeray shows not only a wide knowledge but an extraordinary understanding of his subject. Apparently³⁷⁰ this nineteenth-century writer knows Addison, Fielding, Swift, Smollett, and other great writers of the past century almost as intimately as one knows his nearest friend; and he gives us the fine flavor of their humor in a way which no other writer, save perhaps Larnb, has ever rivaled.[240] The Four Georges is in a vein³² of delicate satire, and presents a rather unflattering picture of four of England's rulers and of the courts in which they moved. Both these works are remarkable for their exquisite style, their gentle humor, their keen literary criticisms, and for the intimate knowledge and sympathy which makes the' people of a past age live once more in the written pages.

General Characteristics. In treating of Thackeray's view of life, as reflected in his novels, critics vary greatly, and the following summary must be taken not as a positive judgment but only as an attempt to express the general impression of his works on an uncritical reader. He is first of a realist, who paints life as he sees it. As he says himself, "I have no brains above my eyes; I describe what I see.". His pictures of certain types, notably³⁷¹ the weak and vicious elements of society, are accurate and true to life, but they seem to play too large a part in his books, and have perhaps too greatly influenced his general judgment of humanity. An excessive sensibility, or the capacity for fine feelings and emotions, is a marked characteristic of Thackeray, as it is of Dickens and Carlyle. He is easily offended, as they are, by the shams of society; but he cannot find an outlet³⁷², as Dickens does, in laughter and tears, and he is too gentle to follow Carlyle in violent denunciations and prophecies. He turns to satire,--influenced, doubtless, by eighteenth-century literature which he knew so well, and in which satire played too large a part.[241] His satire is never personal, like Pope's, or brutal, like Swift's, and is tempered by kindness and humor; but it is used too freely, and generally lays too much emphasis on faults and foibles to be considered a true picture of any large class of English society.

Thackeray as a Moralist Besides being a realist and satirist³⁷³, Thackeray is essentially a moralist, like Addison, aiming definitely in all his work at producing a moral impression. So much does he revere goodness, and so determined³⁷⁴ is he that his Pendennis or his Becky Sharp shall be judged at their true value, that he is not content, like Shakespeare, to be simply an artist, to tell an artistic tale and let it speak its own message; he must explain and emphasize the moral significance of his work. There is no need to consult our own conscience over the actions of Thackeray's characters; the beauty of virtue and the ugliness of vice are evident on every page.

His Style Whatever we may think of Thackeray's matter, there is one point in which critics are agreed,--that he is master of a pure and simple English style. Whether his thought be sad or humorous, commonplace or profound, he expresses it perfectly, without effort or affectation. In all his work there is a subtle charm, impossible to describe, which gives the impression that we are listening to a gentleman. And it is the ease, the refinement, the exquisite naturalness of Thackeray's style that furnishes a large part of our pleasure in reading him.

MARY ANN EVANS, GEORGE ELIOT (1819-1880)

In nearly all the writers of the Victorian Age we note, on the one hand, a strong intellectual tendency to analyze³⁷⁵ the problems of life, and on the other a tendency to teach, that is, to explain to men the method by which these problems may be solved. The novels especially seem to lose sight of the purely artistic ideal of writing, and to aim definitely at moral instruction. In George Eliot both these tendencies reach a climax³⁷⁶. She is more obviously, more consciously a preacher and moralizer than any of her great contemporaries. Though profoundly religious at heart, she was largely occupied by the scientific spirit of the age; and finding no religious creed or political system satisfactory, she fell back upon duty as the supreme law of life. All her novels aim, first, to show in individuals the play of universal moral forces, and second, to establish the moral law as the basis of human society. Aside from this moral teaching, we look to George Eliot for the reflection of country life in England, just as we look to Dickens for pictures of the city streets, and to Thackeray for the vanities of society. Of all the women writer's who have helped and are still helping to place our English novels at the head of the world's fiction, she holds at present unquestionably the highest rank.

Life. Mary Ann (or Marian) Evans, known to us by her pen name of George Eliot, began to write late in life, when nearly forty years of age, and attained³⁷⁷ the leading position among living English novelists in the ten years between 1870 and 1880, after Thackeray and Dickens had passed away. She was born at Arbury Farm, Warwickshire, some twenty miles from Stratford-on-Avon, in 1819. Her parents were plain, honest folk, of the farmer class, who brought her up in the somewhat strict religious manner of those days. Her father seems to have been a man of sterling³⁷⁸ integrity and of practical English sense,--one of those essentially noble characters who do the world's work silently and well, and who by their solid worth obtain a position of influence among their fellow-men.

A few months after George Eliot's birth the family moved to another home, in the parish of Griff, where her childhood was largely passed. The scenery of the Midland counties and many details of her own family life are reflected in her earlier novels. Thus we find her and her brother, as Maggie and Tom Tulliver, in The Mill on the Floss; her aunt, as Dinah Morris, and her mother, as Mrs. Poyser, in Adam Bede. We have a suggestion of her father in the hero of the latter novel, but the picture is more fully drawn as Caleb Garth, in Middlemarch. For a few years she studied at two private schools for young ladies, at Nuneaton and Coventry; but the death of her mother called her, at seventeen years of age, to take entire charge of the household. Thereafter her education was gained wholly by miscellaneous reading. We have a suggestion of her method in one of her early letters, in which she says: "My mind presents an assemblage of disjointed specimens³⁷⁹ of history, ancient and modern; scraps³⁸⁰ of poetry picked up from Shakespeare, Cowper, Wordsworth, and Milton; newspaper topics, morsels³⁸¹ of Addison and Bacon, Latin verbs, geometry, entomology, and chemistry; reviews and metaphysics, all arrested and petrified³⁸² and smothered³⁸³ by the fast-thickening everyday accession of actual events, relative anxieties, and household cares and vexations."

Illustration: MARY ANN EVANS, GEORGE ELIOT
MARY ANN EVANS, GEORGE ELIOT

When Mary was twenty-one years old the family again moved, this time to Foleshill Road, near Coventry. Here she became acquainted with the family of Charles Bray³⁸⁴, a prosperous ribbon manufacturer, whose house was a gathering³⁸⁵ place for the freethinkers of the neighborhood. The effect of this liberal atmosphere upon Miss Evans, brought up in a narrow way, with no knowledge of the world, was to unsettle many of her youthful convictions. From a narrow, intense dogmatism, she went to the other extreme of radicalism³⁸⁶; then (about 1860) she lost all sympathy with the freethinkers, and, being instinctively³⁸⁷ religious, seemed to be groping after a definite faith while following the ideal of duty. This spiritual struggle, which suggests that of Carlyle, is undoubtedly the cause of that gloom and depression which hang, like an English fog, over much of her work; though her biographer, Cross, tells us that she was not by any means a sad or gloomy woman.

In 1849 Miss Evans's father died, and the Brays³⁸⁸ took her abroad for a tour of the continent. On her return to England she wrote several liberal articles for the Westminster Review, and presently was made assistant editor of that magazine. Her residence in London at this time marks a turning point in her career and the real beginning of her literary life. She made strong friendships with Spencer, Mill, and other scientists of the day, and through Spencer met George Henry Lewes, a miscellaneous writer, whom she afterwards married.

Under his sympathetic influence she began to write fiction for the magazines, her first story being "Amos Barton" (1857), which was later included in the Scenes of Clerical Life (1858). Her first long novel, Adam Bede, appeared early in 1859 and met with such popular favor that to the end of her life she despaired of ever again repeating her triumph. But the unexpected success proved to be an inspiration, and she completed The Mill on the Floss and began Silas Marner during the following year. Not until the great success of these works led to an insistent³⁸⁹ demand to know the author did the English public learn that it was a woman, and not an English clergyman, as they supposed, who had suddenly jumped to the front rank of living writers.

Up to this point George Eliot had confined herself to English country life, but now she suddenly abandoned the scenes and the people with whom she was most familiar in order to write an historical novel. It was in 1860, while traveling in Italy, that she formed "the great project" of Romola,--a mingling of fiction and moral philosophy, against the background of the mighty Renaissance³⁹⁰ movement. In this she was writing of things of which she had no personal knowledge, and the book cost her many months of hard and depressing labor. She said herself that she was a young woman when she began the work, and an old woman when she finished it. Romola (1862--1863) was not successful with the public, and the same may be said of Felix Holt the Radical²²⁶ (1866) and The Spanish Gypsy (1868). The last-named work was the result of the author's ambition to write a dramatic poem which should duplicate the lesson of Romola; and for the purpose of gathering material she visited Spain, which she had decided³⁹¹ upon as the scene of her poetical effort. With the publication of Middlemarch (1871-1872) George Eliot came back again into popular favor, though this work is less spontaneous, and more labored³⁹² and pedantic³⁹³, than her earlier novels. The fault of too much analysis and moralizing was even more conspicuous³⁵⁴ in Daniei Deronda (1876), which she regarded as her greatest book. Her life during all this time was singularly uneventful, and the chief milestones³⁹⁴ along the road mark the publication of her successive novels.

During all the years of her literary success her husband Lewes had been a most sympathetic friend and critic, and when he died, in 1878, the loss seemed to be more than she could bear. Her letters of this period are touching³⁹⁵ in their loneliness and their craving³⁹⁶ for sympathy. Later she astonished everybody by marrying John Walter Cross, much younger than herself, who is known as her biographer. "Deep down below there is a river of sadness, but ... I am able to enjoy my newly re-opened life," writes this woman of sixty, who, ever since she was the girl whom we know as Maggie Tulliver, must always have some one to love and to depend upon. Her new interest in life lasted but a few months, for she died in December of the same year (1880). One of the best indications of her strength and her limitations is her portrait, with its strong masculine features, suggesting both by resemblance and by contrast that wonderful portrait of Savonarola which hangs over his old desk in the monastery³⁹⁷ at Florence.

Works of George Eliot. These are conveniently divided into three groups, corresponding to the three periods of her life. The first group includes all her early essays and miscellaneous work, from her translation of Strauss's Leben Jesu, in 1846, to her union with Lewes in 1854. The second group includes Scenes of Clerical Life, Adam Bede, Mill on the Floss, and Silas Marner, all published between 1858 and 1861. These four novels of the middle period are founded on the author's own life and experience; their scenes are laid in the country, and their characters are taken from the stolid³⁹⁸ people of the Midlands, with whom George Eliot had been familiar since childhood. They are probably the author's most enduring works. They have a naturalness, a spontaneity, at times a flash of real humor, which are lacking in her later novels; and they show a rapid development of literary power which reaches a climax in Silas Marner.

The novel of Italian life, Romola (1862-1863), marks a transition to the third group, which includes three more novels,--Felix Holt (1866), Middlemarch (1871-1872), Daniel Deronda (1876), the ambitious dramatic poem The Spanish Gypsy (1868), and a collection of miscellaneous essays called The Impressions of Theophrastus Such (1879). The general impression, of these works is not so favorable as that produced by the novels of the middle period. They are more labored and less interesting; they contain much deep reflection and analysis of character, but less observation, less delight in picturing country life as it is, and very little of what we call inspiration. We must add, however, that this does not express a unanimous literary judgment, for critics are not wanting who assert that Daniel Deronda is the highest expression of the author's genius.

General CharacterThe general character of all these novels may be described, in the author's own term, as psychologic realism. This means that George Eliot sought to do in her novels what Browning attempted in his poetry; that is, to represent the inner struggle of a soul, and to reveal the motives, impulses, and hereditary³⁹⁹ influences which govern human action. Browning generally stops when he tells his story, and either lets you draw your own conclusion or else gives you his in a few striking lines. But George Eliot is not content until she has minutely explained the motives of her characters and the moral lesson to be learned from them. Moreover, it is the development of a soul, the slow growth or decline of moral power, which chiefly interests her. Her heroes and heroines differ radically from those of Dickens and Thackeray in this respect,--that when we meet the men and women of the latter novelists, their characters are already formed, and we are reasonably sure what they will do under given circumstances. In George Eliot's novels the characters develop gradually as we come to know them. They go from weakness to strength, or from strength to weakness, according to the works that they do and the thoughts that they cherish. In Romola, for instance, Tito, as we first meet him, may be either good or bad, and we know not whether he will finally turn to the right hand or to the left. As time passes, we see him degenerate⁴⁰⁰ steadily because he follows his selfish impulses, while Romola, whose character is at first only faintly indicated, grows into beauty and strength with every act of self-renunciation.

Moral TeachingIn these two characters, Tito and Romola, we have an epitome⁴⁰¹ of our author's moral teaching. The principle of law was in the air during the Victorian era, and we have already noted how deeply Tennyson was influenced by it. With George Eliot law is like fate; it overwhelms personal freedom and inclination. Moral law was to her as inevitable, as automatic, as gravitation. Tito's degeneration, and the sad failure of Dorothea and Lydgate in Middlemarch, may be explained as simply as the fall of an apple, or as a bruised⁴⁰² knee when a man loses his balance. A certain act produces a definite moral effect on the individual; and character is the added sum of all, the acts of a man's; life,--just as the weight of a body is the sum of the weights of many different atoms which constitute it. The matter of rewards and punishments, therefore, needs no final judge or judgment, since these things take care of themselves automatically in a world of inviolable moral law.

Perhaps one thing more should be added to the general characteristics of George Eliot's novels,--they are all rather depressing. The gladsomeness of life, the sunshine of smiles and laughter, is denied her. It is said that once, when her husband remarked that her novels were all essentially sad, she wept, and answered that she must describe life as she had found it.

What to Read. George Eliot's first stories are in some respects her best, though her literary power increases during her second period, culminating in Silas Marner, and her psychological analysis is more evident in Daniel Deronda. On the whole, it is an excellent way to begin with the freshness and inspiration of the Scenes of Clerical Life and read her books in the order in which they were written. In the first group of novels Adam Bede is the most natural, and probably interests more readers than all the others combined. The Mill on the Floss has a larger personal interest, because it reflects much of George Eliot's history and the scenes and the friends of her early life. The lack of proportion in this story, which gives rather too much space to the girl-and-boy experiences, is naturally explained by the tendency in every man and woman to linger over early memories.

Silas MarnerSilas Marner is artistically⁴⁰³ the most perfect of George Eliot's novels, and we venture to analyze it as typical of her ideals and methods. We note first the style, which is heavy and a little self-conscious, lacking the vigor and picturesqueness⁴⁰⁴ of Dickens, and the grace and naturalness of Thackeray. The characters are the common people of the Midlands, the hero being a linen⁴⁰⁵ weaver, a lonely outcast who hoards⁴⁰⁶ and gloats over his hard-earned money, is robbed, thrown into utter despair, and brought back to life and happiness by the coming of an abandoned child to his fire. In the development of her story the author shows herself, first, a realist, by the naturalness of her characters and the minute accuracy with which she reproduces their ways and even the accents of their speech; second, a psychologist, by the continual analysis and explanation of motives; third, a moralist, by showing in each individual the action and reaction of universal moral forces, and especially by making every evil act bring inevitable punishment to the man who does it. Tragedy, therefore, plays a large part in the story; for, according to George Eliot, tragedy and suffering walk close behind us, or lurk⁴⁰⁷ at every turn in the road of life. Like all her novels, Silas Marner is depressing. We turn away from even the wedding of Eppie--which is just as it should be--with a sense of sadness and incompleteness. Finally, as we close the book, we are conscious of a powerful and enduring impression of reality. Silas, the poor weaver; Godfrey Cass, the well-meaning, selfish man; Mr. Macey, the garrulous⁴⁰⁸, and observant parish clerk; Dolly Winthrop, the kind-hearted countrywoman who cannot understand the mysteries of religion and so interprets God in terms of human love,--these are real people, whom having once met we can never forget.

RomolaRomola has the same general moral theme as the English novels; but the scenes are entirely different, and opinion is divided as to the comparative merit of the work. It is a study, a very profound study of moral development in one character and of moral degeneracy in another. Its characters and its scenes are both Italian, and the action takes place during a critical period of the Renaissance movement, when Savonarola was at the height of his power in Florence. Here is a magnificent theme and a superb background for a great novel, and George Eliot read and studied till she felt sure that she understood the place, the time, and the people of her story. Romola is therefore interesting reading, in many respects the most interesting of her works. It has been called one of our greatest historical novels; but as such it has one grievous fault. It is not quite true to the people or even to the locality which it endeavors to represent. One who reads it here, in a new and different land, thinks only of the story and of the novelist's power; but one who reads it on the spot which it describes, and amidst the life which it pictures, is continually haunted by the suggestion that George Eliot understood neither Italy nor the Italians. It is this lack of harmony with Italian life itself which caused Morris and Rossetti and even Browning, with all his admiration⁴⁰⁹ for the author, to lay aside the book, unable to read it with pleasure or profit. In a word, Romola is a great moral study and a very interesting book; but the characters are not Italian, and the novel as a whole lacks the strong reality which marks George Eliot's English studies.

MINOR NOVELISTS OF THE VICTORIAN AGE

In the three great novelists just considered we have an epitome of the fiction of the age, Dickens using the novel to solve social problems, Thackeray to paint the life of society as he saw it, and George Eliot to teach the fundamental principles of morality. The influence of these three writers is reflected in all the minor novelists of the Victorian Age. Thus, Dickens is reflected in Charles Reade, Thackeray in Anthony Trollope and the Bront? sisters, and George Eliot's psychology⁴¹⁰ finds artistic expression in George Meredith. To these social and moral and realistic studies we should add the element of romance, from which few of our modern novelist's can long escape. The nineteenth century, which began with the romanticism of Walter Scott, returns to its first love, like a man glad to be home, in its delight over Blackmore's Lorna Doone and the romances of Robert Louis Stevenson.

Charles Reade. In his fondness for stage effects, for picturing the romantic side of common life, and for using the novel as the instrument of social reform, there is a strong suggestion of Dickens in the work of Charles Reade (1814-1884). Thus his Peg⁴¹¹ Woffington is a study of stage life from behind the scenes; A Terrible Temptation is a study of social reforms and reformers; and Put yourself in his Place is the picture of a workingman who struggles against the injustice of the trades unions. His masterpiece, The Cloister and the Hearth (1861), one of our best historical novels, is a somewhat laborious⁴¹² study of student and vagabond life in Europe in the days of the German Renaissance. It has small resemblance to George Eliot's Romola, whose scene is laid in Italy during the same period; but the two works may well be read in succession, as the efforts of two very different novelists of the same period to restore the life of an age long past.

Anthony Trollope. In his realism, and especially in his conception of the novel as the entertainment of an idle hour, Trollope (1815-1882) is a reflection of Thackeray. It would be hard to find a better duplicate of Becky Sharp, the heroine of Vanity Fair, for instance, than is found in Lizzie Eustace, the heroine of The Eustace Diamonds. Trollope was the most industrious²⁰² and systematic⁴¹³ of modern novelists, writing a definite amount each day, and the wide range of his characters suggests the Human Comedy of Balzac. His masterpiece is Barchester Towers (1857). This is a study of life in a cathedral town, and is remarkable for its minute pictures of bishops⁴¹⁴ and clergymen, with their families and dependents. It would be well to read this novel in connection with The Warden⁴¹⁵ (1855), The Last Chronicle of Barset (1867), and other novels of the same series, since the scenes and characters are the same in all these books, and they are undoubtedly the best expression of the author's genius. Hawthorne says of his novels: "They precisely suit my taste,--solid and substantial, and ... just as real as if some giant had hewn a great lump out of the earth and put it under a glass case, with all the inhabitants going about their daily business and not suspecting that they were being made a show of."

Charlotte Bront?. We have another suggestion of Thackeray in the work of Charlotte Bront? (1816-1855). She aimed to make her novels a realistic picture of society, but she added to Thackeray's realism the element of passionate and somewhat unbalanced romanticism. The latter element was partly the expression of Miss Bront?'s own nature, and partly the result of her lonely and grief-stricken life, which was darkened by a succession of family tragedies. It will help us to understand her work if we remember that both Charlotte Bront? and her sister Emily[242] turned to literature because they found their work as governess and teacher unendurable, and sought to relieve the loneliness and sadness of their own lot by creating a new world of the imagination. In this new world, however, the sadness of the old remains, and all the Bront? novels have behind them an aching heart. Charlotte Bront?'s best known work is Jane Eyre (1847), which, with all its faults, is a powerful and fascinating study of elemental love and hate, reminding us vaguely of one of Marlowe's tragedies. This work won instant favor with the public, and the author was placed in the front rank of living novelists. Aside from its value as a novel, it is interesting, in many of its early passages, as the reflection of the author's own life and experience. Shirley (1849) and Villette (1853) make up the trio of novels by which this gifted woman is generally remembered.

Bulwer Lytton. Edward Bulwer Lytton (1803-1873) was an extremely versatile⁴¹⁶ writer, who tried almost every kind of novel known to the nineteenth century. In his early life he wrote poems and dramas, under the influence of Byron; but his first notable work, Pelham (1828), one of the best of his novels, was a kind of burlesque⁴¹⁷ on the Byronic type of gentleman. As a study of contemporary manners in high society, Pelham has a suggestion of Thackeray, and the resemblance is more noticeable in other novels of the same type, such as Ernest Maltravers (1837), The Caxtons (1848-1849), My Novel (1853), and Kenelm Chillingly (1873). We have a suggestion of Dickens in at least two of Lytton's novels, Paul Clifford and Eugene Aram, the heroes of which are criminals, pictured as the victims rather than as the oppressors of society. Lytton essayed also, with considerable popular success, the romantic novel in The Pilgrims of the Rhine and Zanoni, and tried the ghost story in The Haunted and the Haunters. His fame at the present day rests largely upon his historical novels, in imitation of Walter Scott, The Last Days of Pompeii (1834), Riettza (1835), and Harold (1848), the last being his most ambitious attempt to make the novel the supplement of history. In all his novels Lytton is inclined to sentimentalism and sensationalism, and his works, though generally interesting, seem hardly worthy of a high place in the history of fiction.

Kingsley. Entirely different in spirit are the novels of the scholarly clergyman, Charles Kingsley (1819-1875). His works naturally divide themselves into three classes. In the first are his social studies and problem novels, such as Alton Locke (1850), having for its hero a London tailor and poet, and Yeast⁴¹⁸ (1848), which deals with the problem of the agricultural laborer⁴¹⁹. In the second class are his historical novels, Hereward the Wake, Hypatia, and Westward⁴²⁰ Ho! Hypatia is a dramatic story of Christianity in contact with paganism, having its scene laid in Alexandria at the beginning of the fifth century. Westward Ho! (1855), his best known work, is a stirring tale of English conquest by land and sea in the days of Elizabeth. In the third class are his various miscellaneous works, not the least of which is Water-Babies, a fascinating story of a chimney sweep, which mothers read to their children at bedtime,--to the great delight of the round-eyed little listeners under the counterpane.

Mrs. Gaskell. Mrs. Elizabeth Gaskell (1810-1865) began, like Kingsley, with the idea of making the novel the instrument of social reform. As the wife of a clergyman in Manchester, she had come in close contact with the struggles and ideals of the industrial poor of a great city, and she reflected her sympathy as well as her observation in Mary Barton (1848) and in North and South (1855). Between these two problem novels she published her masterpiece, Cranford, in 1853. The original of this country village, which is given over to spinsters, is undoubtedly Knutsford, in Cheshire, where Mrs. Gaskell had spent her childhood. The sympathy, the keen observation, and the gentle humor with which the small affairs of a country village are described make Cranford one of the most delightful stories in the English language. We are indebted to Mrs. Gaskell also for the Life of Charlotte Bront?, which is one of our best biographies.

Blackmore. Richard Doddridge Blackrhore (1825--1900) was a prolific⁴²¹ writer, but he owes his fame almost entirely to one splendid novel, Lorna Doone, which was published in 1869. The scene of this fascinating romance is laid in Exmoor in the seventeenth century. The story abounds⁴²² in romantic scenes and incidents; its descriptions of natural scenery are unsurpassed; the rhythmic⁴²³ language is at times almost equal to poetry; and the whole tone of the book is wholesome and refreshing⁴²⁴. Altogether it would be hard to find a more delightful romance in any language, and it well deserves the place it has won as one of the classics of our literature. Other works of Blackmore which will repay the reader are Clara Vaughan (1864), his first novel, The Maid of Sker (1872), Springhaven (1887), Perlycross (1894), and Tales from the Telling House (1896); but none of these, though he counted them his best work, has met with the same favor as Lorna Doone.

Meredith. So much does George Meredith (1828-1909) belong to our own day that it is difficult to think of him as one of the Victorian novelists. His first notable work, The Ordeal⁴²⁵ of Richard Feverel, was published in 1859, the same year as George Eliot's Adam Bede; but it was not till the publication of Diana of the Crossways in 1885, that his power as a novelist was widely recognized. He resembles Browning not only in his condensed style, packed with thought, but also in this respect,--that he labored for years in obscurity, and after much of his best work was published and apparently forgotten he slowly won the leading place in English fiction. We are still too near him to speak of the permanence of his work, but a casual reading of any of his novels suggests a comparison and a contrast with George Eliot. Like her, he is a realist and a psychologist; but while George Eliot uses tragedy to teach a moral lesson, Meredith depends more upon comedy, making vice not terrible but ridiculous. For the hero or heroine of her novel George Eliot invariably takes an individual, and shows in each one the play of universal moral forces. Meredith constructs a type-man as a hero, and makes this type express his purpose and meaning. So his characters seldom speak naturally, as George Eliot's do; they are more like Browning's characters in packing a whole paragraph into a single sentence or an exclamation⁴²⁶. On account of his enigmatic style and his psychology, Meredith will never be popular; but by thoughtful men and women he will probably be ranked among our greatest writers of fiction. The simplest and easiest of his novels for a beginner is The Adventures of Henry Richmond (1871). Among the best of his works, besides the two mentioned above, are Beauchamp's Career (1876) and The Egoist (1879). The latter is, in our personal judgment, one of the strongest and most convincing novels of the Victorian Age.

Hardy⁴²⁷. Thomas Hardy (1840-) seems, like Meredith, to belong to the present rather than to a past age, and an interesting comparison may be drawn between these two novelists. In style, Meredith is obscure and difficult, while Hardy is direct and simple, aiming at realism in all things. Meredith makes man the most important phenomenon in the universe; and the struggles of men are brightened by the hope of victory. Hardy makes man an insignificant⁴²⁸ part of the world, struggling against powers greater than himself,--sometimes against systems which he cannot reach or influence, sometimes against a kind of grim world-spirit who delights in making human affairs go wrong. He is, therefore, hardly a realist, but rather a man blinded by pessimism; and his novels, though generally powerful and sometimes fascinating, are not pleasant or wholesome reading. From the reader's view point some of his earlier works, like the idyllic⁴²⁹ love story Under the Greenwood Tree (1872) and A Pair of Blue Eyes (1873), are the most interesting. Hardy became noted, however, when he published Far from the Madding Crowd, a book which, when it appeared anonymously⁴³⁰ in the Cornhill Magazine (1874), was generally attributed to George Eliot, for the simple reason that no other novelist was supposed to be capable of writing it. The Return of the Native (1878) and The Woodlanders are generally regarded as Hardy's masterpieces; but two novels of our own day, Tess of the D'Ubervilles (1891) and Jude the Obscure (1895), are better expressions of Hardy's literary art and of his gloomy philosophy.

Stevenson. In pleasing contrast with Hardy is Robert Louis Stevenson (1850-1894), a brave, cheery, wholesome spirit, who has made us all braver and cheerier by what he has written. Aside from their intrinsic value, Stevenson's novels are interesting in this respect,--that they mark a return to the pure romanticism of Walter Scott. The novel of the nineteenth century had, as we have shown, a very definite purpose. It aimed not only to represent life but to correct it, and to offer a solution to pressing moral and social problems. At the end of the century Hardy's gloom in the face of modern social conditions became oppressive, and Stevenson broke away from it into that land of delightful romance in which youth finds an answer to all its questions. Problems differ, but youth is ever the same, and therefore Stevenson will probably be regarded by future generations as one of our most enduring writers. To his life, with its "heroically happy" struggle, first against poverty, then against physical illness, it is impossible to do justice in a short article. Even a longer biography is inadequate⁴³¹, for Stevenson's spirit, not the incidents of his life, is the important thing; and the spirit has no biographer. Though he had written much better work earlier, he first gained fame by his Treasure Island (1883), an absorbing story of pirates and of a hunt for buried gold. Dr. Jekyll and Mr. Hyde (1886) is a profound ethical⁴³² parable³⁰⁹, in which, however, Stevenson leaves the psychology and the minute analysis of character to his readers, and makes the story the chief thing in his novel. Kidnapped (1886), The Master of Ballantrae (1889), and David Balfour (1893) are novels of adventure, giving us vivid pictures of Scotch⁴³³ life. Two romances left unfinished by his early death in Samoa are The Weir⁴³⁴ of Hermiston and St. Ives. The latter was finished by Quiller-Couch in 1897; the former is happily just as Stevenson left it, and though unfinished is generally regarded as his masterpiece. In addition to these novels, Stevenson wrote a large number of essays, the best of which are collected in Virginibus Puerisque, Familiar Studies of Men and Books, and Memories and Portraits. Delightful sketches of his travels are found in An Inland Voyage (1878), Travels with a Donkey (1879), Across the Plains (1892), and The Amateur Emigrant⁴³⁵ (1894). Underwoods (1887) is an exquisite little volume of poetry, and A Child's Garden of Verses is one of the books that mothers will always keep to read to their children.

In all his books Stevenson gives the impression of a man at play rather than at work, and the reader soon shares in the happy spirit of the author. Because of his beautiful personality, and because of the love and admiration he awakened⁴³⁶ for himself in multitudes of readers, we are naturally inclined to exaggerate his importance as a writer. However that may be, a study of his works shows him to be a consummate⁴³⁷ literary artist. His style is always simple, often perfect, and both in his manner and in his matter he exercises a profound influence, on the writers of the present generation.

III. ESSAYISTS OF THE VICTORIAN AGE

THOMAS BABINGTON MACAULAY (1800-1859)

Macaulay is one of the most typical figures of the nineteenth century. Though not a great writer, if we compare him with Browning or Thackeray, he was more closely associated than any of his literary contemporaries with the social and political struggles of the age. While Carlyle was proclaiming the gospel of labor, and Dickens writing novels to better the condition of the poor, Macaulay went vigorously to work on what he thought to be the most important task of the hour, and by his brilliant speeches did perhaps more than any other single man to force the passage of the famous Reform Bill. Like many of the Elizabethans, he was a practical man of affairs rather than a literary man, and though we miss in his writings the imagination and the spiritual insight which stamp the literary genius, we have the impression always of a keen, practical, honest mind, which looks at present problems in the light of past experience. Moreover, the man himself, with his marvelous mind, his happy spirit, and his absolute integrity of character, is an inspiration to better living.

Life. Macaulay was born at Rothley Temple, Leicestershire, in 1800. His father, of Scotch descent, was at one time governor of the Sierra Leone colony for liberated⁴³⁸ negroes, and devoted a large part of his life to the abolition⁴³⁹ of the slave trade. His mother, of Quaker parentage, was a brilliant, sensitive woman, whose character is reflected in that of her son. The influence of these two, and the son's loyal devotion to his family, can best be read in Trevelyan's interesting biography.

As a child, Macaulay is strongly suggestive of Coleridge. At three years of age he began to read eagerly; at five he "talked like a book"; at ten he had written a compendium⁴⁴⁰ of universal history, besides various hymns, verse romances, arguments for Christianity, and one ambitious epic poem. The habit of rapid reading, begun in childhood, continued throughout his life, and the number and vari ety of books which he read is almost incredible. His memory was phenomenal. He could repeat long poems and essays after a single reading; he could quote not only passages but the greater part of many books, including Pilgrim's Progress, Paradise Lost, and various novels like Clarissa. Once, to test his memory, he recited two newspaper poems which he had read in a coffeehouse forty years before, and which he had never thought of in the interval⁹⁶.

At twelve years of age this remarkable boy was sent to a private school at Little Shelford, and at eighteen he eqgered Trinity College, Cambridge. Here he made a reputation as a classical scholar and a brilliant talker, but made a failure of his mathematics. In a letter to his mother he wrote: "Oh for words to express my abomination of that science.... Discipline of the mind! Say rather starvation, confinement⁴⁴¹, torture, annihilation!" We quote this as a commentary on Macaulay's later writings, which are frequently lacking in the exactness and the logical sequence of the science which he detested.

After his college course Macaulay studied law, was admitted to the bar, devoted himself largely to politics, entered Parliament in 1830, and almost immediately won a reputation as the best debater and the most eloquent⁴⁴² speaker, of the Liberal or Whig party. Gladstone says of him: "Whenever he arose to speak it was a summons like a trumpet⁴⁴³ call to fill the benches." At the time of his election he was poor, and the loss of his father's property threw upon him the support of his brothers and sisters; but he took up the burden with cheerful courage, and by his own efforts soon placed himself and his family in comfort. His political progress was rapid, and was due not to favoritism or intrigue³²⁹, but to his ability, his hard work, and his sterling character. He was several times elected to Parliament, was legal adviser⁴⁴⁴ to the Supreme Council of India, was a member of the cabinet, and declined many offices for which other men labor a lifetime. In 1857 his great ability and services to his country were recognized by his being raised to the peerage with the title of Baron⁴⁴⁵ Macaulay of Rothley.

Illustration: THOMAS BABINGTON MACAULAY
THOMAS BABINGTON MACAULAY

Macaulay's literary work began in college with the contribution of various ballads and essays to the magazines. In his later life practical affairs claimed the greater part of his time, and his brilliant essays were written in the early morning or late at night. His famous Essay on Milton appeared in the Edinburgh Review in 1825. It created a sensation, and Macaulay, having gained the ear of the public, never once lost it during the twenty years in which he was a contributor to the magazines. His Lays of Ancient Rome appeared in 1842, and in the following year three volumes of his collected Essays. In 1847 he lost his seat in Parliament, temporarily, through his zealous⁴⁴⁶ efforts in behalf of religious toleration; and the loss was most fortunate, since it gave him opportunity to begin his History of England,--a monumental work which he had been planning for many years. The first two volumes appeared in 1848, and their success can be compared only to that of the most popular novels. The third and fourth volumes of the History (1855) were even more successful, and Macaulay was hard at work on the remaining volumes when he died, quite suddenly, in 1859. He was buried, near Addison, in the Poets' Corner of Westminster Abbey. A paragraph from one of his letters, written at the height of his fame and influence, may give us an insight into his life and work:

I can truly say that I have not, for many years, been so happy as I am at present.... I am free. I am independent. I am in Parliament, as honorably seated as man can be. My family is comfortably off. I have leisure for literature, yet I am not reduced to the necessity of writing for money. If I had to choose a lot from all that there are in human life, I am not sure that I should prefer any to that which has fallen to me. I am sincerely and thoroughly contented⁴⁴⁸.

Essay on MiltonWorks of Macaulay. Macaulay is famous in literature for his essays, for his martial⁴⁴⁹ ballads, and for his History of England. His first important work, the Essay on Milton (1825), is worthy of study not only for itself, as a critical estimate of the Puritan poet, but as a key to all Macaulay's writings. Here, first of all, is an interesting work, which, however much we differ from the author's opinion, holds our attention and generally makes us regret that the end comes so soon. The second thing to note is the historical flavor of the essay. We study not only Milton, but also the times in which he lived, and the great movements of which he was a part. History and literature properly belong together, and Macaulay was one of the first writers to explain the historical conditions which partly account for a writer's work and influence. The third thing to note is Macaulay's enthusiasm for his subject,--an enthusiasm which is often partisan⁴⁵⁰, but which we gladly share for the moment as we follow the breathless narrative. Macaulay generally makes a hero of his man, shows him battling against odds⁴⁵¹, and the heroic side of our own nature awakens⁴⁵² and responds to the author's plea. The fourth, and perhaps most characteristic thing in the essay is the style, which is remarkably⁴⁵³ clear, forceful, and convincing. Jeffrey, the editor of the Edinburgh Review, wrote enthusiastically when he received the manuscript, "The more I think, the less I can conceive where you picked up that style." We still share in the editor's wonder; but the more we think, the less we conceive that such a style could be picked up. It was partly the result of a well-stored mind, partly of unconscious imitation of other writers, and partly of that natural talent for clear speaking and writing which is manifest in all Macaulay's work.

Other EssaysIn the remaining essays we find the same general qualities which characterize Macaulay's first attempt. They cover a wide range of subjects, but they may be divided into two general classes, the literary or critical, and the historical. Of the literary essays the best are those on Milton, Addison, Goldsmith, Byron, Dryden, Leigh Hunt, Bunyan, Bacon, and Johnson. Among the best known of the historical essays are those on Lord Clive, Chatham, Warren Hastings, Hallam's Constitutional History, Von Ranke's History of the Papacy, Frederick the Great, Horace Walpole, William Pitt, Sir William Temple, Machiavelli, and Mirabeau. Most of these were produced in the vigor of young manhood, between 1825 and 1845, while the writer was busy with practical affairs of state. They are often one-sided and inaccurate⁴⁵⁴, but always interesting, and from them a large number of busy people have derived⁴⁵⁵ their first knowledge of history and literature.

Lays of Ancient RomeThe best of Macaulay's poetical work is found in the Lays of Ancient Rome (1842), a collection of ballads in the style of Scott, which sing of the old heroic days of the Rome Roman republic. The ballad does not require much thought or emotion. It demands clearness, vigor, enthusiasm, action; and it suited Macaulay's genius perfectly. He was, however, much more careful than other ballad writers in making his narrative true to tradition. The stirring martial spirit of these ballads, their fine workmanship, and their appeal to courage and patriotism⁴⁵⁶ made them instantly popular. Even to-day, after more than fifty years, such ballads as those on Virginius and Horatius at the Bridge are favorite pieces in many school readers.

History of EnglandThe History of England, Macaulay's masterpiece, is still one of the most popular historical works in the English language. Originally it was intended to cover the period from the accession of James II, in 1685, to the death of George IV, in 1830. Only five volumes of the work were finished, and so thoroughly did Macaulay go into details that these five volumes cover only sixteen years. It has been estimated that to complete the work on the same scale would require some fifty volumes and the labor of one man for over a century.

In his historical method Macaulay suggests Gibbon. His own knowledge of history was very great, but before writing he read numberless pages, consulted original documents, and visited the scenes which he intended to describe. Thackeray's remark, that "Macaulay reads twenty books to write a sentence and travels one hundred miles to make a line of description," is, in view of his industry, a well-warranted exaggeration.

As in his literary essays, he is fond of making heroes, and he throws himself so heartily⁴⁵⁷ into the spirit of the scene he is describing that his word pictures almost startle us by their vivid reality. The story of Monmouth's rebellion, for instance, or the trial of the seven bishops, is as fascinating as the best chapters of Scott's historical novels.

While Macaulay's search for original sources of information suggests the scientific historian, his use of his material is much more like that of a novelist or playwright. In his essay on Machiavelli he writes: "The best portraits are perhaps those in which there is a slight mixture of caricature, and we are not certain that the best histories are not those in which a little of the exaggeration of fictitious⁴⁵⁸ narrative is judiciously⁴⁵⁹ employed. Something is lost in accuracy, but much is gained in effect."[243] Whether this estimate of historical writing be true or false, Macaulay employed it in his own work and made his narrative as absorbing as a novel. To all his characters he gives the reality of flesh and blood, and in his own words he "shows us over their houses and seats us at their tables." All that is excellent, but it has its disadvantages. In his admiration for heroism, Macaulay makes some of his characters too good and others too bad. In his zeal⁴⁴⁷ for details he misses the importance of great movements, and of great leaders who are accustomed to ignore details; and in his joy of describing events he often loses sight of underlying causes. In a word, he is without historical insight, and his work, though fascinating, is seldom placed among the reliable histories of England.

General Characteristics. To the reader who studies Macaulay's brilliant essays and a few chosen chapters of his History, three things soon become manifest. First, Macaulay's art is that of a public speaker rather than that of a literary man. He has a wonderful command of language, and he makes his meaning clear by striking phrases, vigorous antitheses⁴⁶⁰, anecdotes⁴⁶¹, and illustrations. His style is so clear that "he who runs may read," and from beginning to end he never loses the attention of his readers. Second, Macaulay's good spirits and enthusiasm are contagious⁴⁶². As he said himself, he wrote "out of a full head," chiefly for his own pleasure or recreation; and one who writes joyously⁴⁶³ generally awakens a sense of pleasure in his readers. Third, Macaulay has "the defect of his qualities." He reads and remembers so much that he has no time to think or to form settled opinions. As Gladstone said, Macaulay is "always conversing⁴⁶⁴ or recollecting⁴⁶⁵ or reading or composing, but reflecting never." So he wrote his brilliant Essay on Milton, which took all England by storm, and said of it afterward²³⁴ that it contained "scarcely a paragraph which his mature judgment approved." Whether he speaks or writes, he has always before him an eager audience, and he feels within him the born orator⁴⁶⁶'s power to hold and fascinate. So he gives loose rein to his enthusiasm, quotes from a hundred books, and in his delight at entertaining us forgets that the first quality of a critical or historical work is to be accurate, and the second to be interesting.

THOMAS CARLYLE (1795-1881)

In marked contrast with Macaulay, the brilliant and cheerful essayist, is Thomas Carlyle, the prophet and censor⁴⁶⁷ of the nineteenth century. Macaulay is the practical man of affairs, helping and rejoicing in the progress of his beloved England. Carlyle lives apart from all practical interests, looks with distrust on the progress of his age, and tells men that truth, justice, and immortality are the only worthy objects of human endeavor. Macaulay is delighted with material comforts; he is most at home in brilliant and fashionable company; and he writes, even when ill and suffering, with unfailing hopefulness and good nature. Carlyle is like a Hebrew prophet just in from the desert, and the burden of his message is, "Woe²⁹⁰ to them that are at ease in Zion!" Both men are, in different ways, typical of the century, and somewhere between the two extremes--the practical, helpful activity of Macaulay and the spiritual agony and conflict of Carlyle--we shall find the measure of an age which has left the deepest impress upon our own.

Life of Carlyle. Carlyle was born at Ecclefechan, Dumfriesshire, in 1795, a few months before Burns's death, and before Scott had published his first work. Like Burns, he came of peasant stock,--strong, simple, God-fearing folk, whose influence in Carlyle's later life is beyond calculation. Of his mother he says, "She was too mild and peaceful for the planet she lived in"; and of his father, a stone mason, he writes, "Could I write my books as he built his houses, walk my way so manfully through this shadow world, and leave it with so little blame, it were more than all my hopes."

Of Carlyle's early school life we have some interesting glimpses in Sartor Resartus. At nine years he entered the Annan grammar school, where he was bullied⁴⁶⁸ by the older boys, who nicknamed him Tom the Tearful. For the teachers of those days he has only ridicule, calling them "hide-bound pedants," and he calls the school by the suggestive German name of Hinterschlag Gymnasium. At the wish of his parents, who intended Carlyle for the ministry⁴⁶⁹, he endured this hateful school life till 1809, when he entered Edinburgh University. There he spent five miserable⁴⁷⁰ years, of which his own record is: "I was without friends, experience, or connection in the sphere of human business, was of sly humor, proud enough and to spare, and had begun my long curriculum of dyspepsia." This nagging⁴⁷¹ illness was the cause of much of that irritability⁴⁷² of temper which frequently led him to scold the public, and for which he has been harshly handled by unfriendly critics.

Illustration: UNIVERSITY OF EDINBURGH
UNIVERSITY OF EDINBURGH

The period following his university course was one of storm and stress for Carlyle. Much to the grief of the father whom he loved, he had given up the idea of entering the ministry. Wherever he turned, doubts like a thick fog surrounded him,--doubts of God, of his fellow-men, of human progress, of himself. He was poor, and to earn an honest living was his first problem. He tried successively teaching school, tutoring, the study of law, and writing miscellaneous articles for the Edinburgh Encyclopedia⁴⁷³. All the while he was fighting his doubts, living, as he says, "in a continual, indefinite, pining fear." After six or seven years of mental agony, which has at times a suggestion of Bunyan's spiritual struggle, the crisis came in 1821, when Carlyle suddenly shook off his doubts and found himself. "All at once," he says in Sartor, "there arose a thought in me, and I asked myself: 'What Art thou afraid of? Wherefore like a coward dost thou forever pip and whimper, and go cowering⁴⁷⁴ and trembling? Despicable biped! What is the sum total of the worst that lies before thee? Death? Well, Death; and say the pangs⁴⁷⁵ of Tophet too, and all that the Devil and Man may, will, or can do against thee! Hast thou not a heart; canst thou not suffer whatsoever⁴⁷⁶ it be; and, as a Child of Freedom, though outcast, trample⁴⁷⁷ Tophet itself under thy feet, while it consumes thee? Let it come then; I will meet it and defy it!' And as I so thought, there rushed like a stream of fire over my whole soul; and I shook base Fear away from me forever." This struggle between fear and faith, and the triumph of the latter, is recorded in two remarkable chapters, "The Everlasting⁴⁷⁸ No" and "The Everlasting Yea," of Sartor Resartus.

Illustration: THOMAS CARLYLE After the portrait by James McNeill Whistler
THOMAS CARLYLE After the portrait by James McNeill Whistler

Carlyle now definitely resolved on a literary life, and began with any work that offered a bare livelihood⁴⁸⁰. He translated Legendre's Geometry from the French, wrote numerous essays for the magazines, and continued his study of German while making translations from that language. His translation of Goethe's Wilhelm Meister Appeared in 1824, his Life of Schiller in 1825, and his Specimens of German Romance in 1827. He began at this time a correspondence with Goethe, his literary hero, which lasted till the German poet's death in 1832. While still busy with "hack⁹ work," Carlyle, in 1826, married Jane Welsh, a brilliant and beautiful woman, whose literary genius almost equaled that of her husband. Soon afterwards, influenced chiefly by poverty, the Carlyles retired⁴⁸¹ to a farm, at Craigen-puttoch (Hawks' Hill), a dreary⁴⁸² and lonely spot, far from friends and even neighbors. They remained here six years, during which time Carlyle wrote many of his best essays, and Sartor Resartus, his most original work. The latter went begging among publishers for two years, and was finally published serially in Fraser's Magazine, in 1833-1834. By this time Carlyle had begun to attract attention as a writer, and, thinking that one who made his living by the magazines should be in close touch with the editors, took his wife's advice and moved to London "to seek work and bread." He settled in Cheyne Row, Chelsea,--a place made famous by More, Erasmus, Bolingbroke, Smollett, Leigh Hunt, and many lesser⁴⁸³ lights of literature,--and began to enjoy the first real peace he had known since childhood. In 1837 appeared The French Revolution, which first made Carlyle famous; and in the same year, led by the necessity of earning money, he began the series of lectures--German. Literature (1837), Periods of European Culture (1838), Revolutions of Modern Europe (1839), Heroes and Hero Worship (1841)--which created a sensation in London. "It was," says Leigh Hunt, "as if some Puritan had come to life again, liberalized by German philosophy and his own intense reflection and experience."

Though Carlyle set himself against the spirit of his age, calling the famous Reform Bill a "progress into darkness," and democracy "the rule of the worst rather than the best," his rough sincerity was unquestioned, and his remarks were more quoted than those of any other living man. He was supported, moreover, by a rare circle of friends,--Edward Irving, Southey, Sterling, Landor, Leigh Hunt, Dickens, Mill, Tennyson, Browning, and, most helpful of all, Emerson, who had visited Carlyle at Craigenputtoch in 1833. It was due largely to Emerson's influence that Carlyle's works were better appreciated, and brought better financial rewards, in America than in England.

Carlyle's fame reached its climax in the monumental History of Frederick the Great (1858-1865), published after thirteen years of solitary⁴⁸⁴ toil²⁹, which, in his own words, "made entire devastation⁴⁸⁵ of home life and happiness." The proudest moment of his life was when he was elected to succeed Gladstone as lord rector of Edinburgh University, in 1865, the year in which Frederick the Great was finished. In the midst of his triumph, and while he was in Scotland to deliver his inaugural⁴⁸⁶ address, his happiness was suddenly destroyed by the death of his wife,--a terrible blow, from which he never recovered. He lived on for fifteen years, shorn of his strength and interest in life; and his closing hours were like the dull sunset of a November day. Only as we remember his grief and remorse at the death of the companion who had shared his toil but not his triumph, can we understand the sorrow that pervades⁴⁸⁷ the pages of his Reminiscences. He died in 1881, and at his own wish was buried, not in Westminster Abbey, but among his humble kinsfolk in Ecclefechan. However much we may differ from his philosophy or regret the harshness of his minor works, we shall probably all agree in this sentiment from one of his own letters,--that the object of all his struggle and writing was "that men should find out and believe the truth, and match their lives to it."

Works of Carlyle. There are two widely different judgments⁴⁸⁸ of Carlyle as a man and a writer. The first, which is founded largely on his minor writings, like Chartism, Latter-Day Pamphlets, and Shooting Niagara, declares that he is a misanthrope⁴⁸⁹ and dyspeptic with a barbarous style of writing; that he denounces progress, democracy, science, America, Darwin,--everybody and everything that he does not understand; that his literary opinions are largely prejudices; that he began as a prophet and ended as a scold; and that in denouncing shams of every sort he was something of a sham³²³ himself, since his practice was not in accord with his own preaching. The second judgment, which is founded upon Heroes and Hero Worship, Cromwell, and Sartor Resartus, declares that these works are the supreme manifestation⁴⁹⁰ of genius; that their rugged⁴⁹¹, picturesque style makes others look feeble or colorless by comparison; and that the author is the greatest teacher, leader, and prophet of the nineteenth century.

Somewhere between these two extremes will be found the truth about Carlyle. We only note here that, while there are some grounds for the first unfavorable criticism, we are to judge an author by his best rather than by his worst work; and that a man's aims as well as his accomplishments⁴⁹² must be taken into consideration. As it is written, "Whereas it was in thine heart to build an house unto my name, thou didst well that it was in thine heart." Whatever the defects of Carlyle and his work, in his heart he was always planning a house or temple to the God of truth and justice.

Carlyle's important works may be divided into three general classes,--critical and literary essays, historical works, and Sartor Resartus, the last being in a class by itself, since there is nothing like it in literature. To these should be added a biography, the admirable Life of John Sterling, and Carlyle's Letters and Reminiscences, which are more interesting and suggestive than some of his better known works. We omit here all consideration of translations, and his intemperate⁴⁹³ denunciations of men and institutions in Chartism, Latter-Day Pamphlets, and other essays, which add nothing to the author's fame or influence.

Essay on BurnsOf the essays, which are all characterized by Carlyle's zeal to get at the heart of things, and to reveal the soul rather than the works of a writer, the best are those on "Burns," "Scott," "Novalis," "Goethe," "Characteristics," "Signs of the Times," and "Boswell's Life of Johnson."[244] In the famous Essay on Burns, which is generally selected for special study, we note four significant things: (1) Carlyle is peculiarly well fitted for his task, having many points in common with his hero. (2) In most of his work Carlyle, by his style and mannerisms and positive opinions, generally attracts our attention away from his subject; but in this essay he shows himself capable of forgetting himself for a moment. To an unusual extent he sticks to his subject, and makes us think of Burns rather than of Carlyle. The style, though unpolished, is fairly simple and readable, and is free from the breaks, crudities, ejaculations, and general "nodulosities" which disfigure much of his work. (3) Carlyle has an original and interesting theory of biography and criticism. The object of criticism is to show the man himself, his aims, ideals, and outlook on the universe; the object of biography is "to show what and how produced was the effect of society upon him; what and how produced was his effect on society." (4) Carlyle is often severe, even harsh, in his estimates of other men, but in this case the tragedy of Burns's "life of fragments" attracts and softens⁴⁹⁵ him. He grows enthusiastic and--a rare thing for Carlyle--apologizes for his enthusiasm in the striking sentence, "We love Burns, and we pity him; and love and pity are prone⁴⁹⁶ to magnify." So he gives us the most tender and appreciative⁴⁹⁷ of his essays, and one of the most illuminating criticisms of Burns that has appeared in our language.

Heroes and Hero WorshipThe central idea of Carlyle's historical works is found in his Heroes and Hero Worship (1841), his most widely read book. "Universal history," he says, "is at bottom the history of the great men who have worked here." To get at the truth of history we must study not movements but men, and read not state papers but the biographies of heroes. His summary of history as presented in this work has six divisions: (1) The Hero as Divinity, having for its general subject Odin, the "type Norseman," who, Carlyle thinks, was some old heroic chief, afterwards deified by his countrymen; (2) The Hero as Prophet, treating of Mahomet and the rise of Islam; (3) The Hero as Poet, in which Dante and Shakespeare are taken as types; (4) The Hero as Priest, or religious leader, in which Luther appears as the hero of the Reformation, and Knox as the hero of Puritanism; (5) The Hero as Man of Letters, in which we have the curious choice of Johnson, Rousseau, and Burns; (6) The Hero as King, in which Cromwell and Napoleon appear as the heroes of reform by revolution.

It is needless to say that Heroes is not a book of history; neither is it scientifically written in the manner of Gibbon. With science in any form Carlyle had no patience; and he miscalculated the value of that patient search for facts and evidence which science undertakes before building any theories, either of kings or cabbages. The book, therefore, abounds in errors; but they are the errors of carelessness and are perhaps of small consequence. His misconception of history, however, is more serious. With the modern idea of history, as the growth of freedom among all classes, he has no sympathy. The progress of democracy was to him an evil thing, a "turning of the face towards darkness and anarchy⁴⁹⁸." At certain periods, according to Carlyle, God sends us geniuses, sometimes as priests or poets, sometimes as soldiers or statesmen; but in whatever guise²⁵⁵ they appear, these are our real rulers. He shows, moreover, that whenever such men appear, multitudes follow them, and that a man's following is a sure index of his heroism and kingship.

Whether we agree with Carlyle or not, we must accept for the moment his peculiar view of history, else Heroes can never open its treasures to us. The book abounds in startling ideas, expressed with originality and power, and is pervaded throughout by an atmosphere of intense moral earnestness. The more we read it, the more we find to admire and to remember.

French RevolutionCarlyle's French Revolution (1837) is to be taken more seriously as a historical work; but here again his hero worship comes to the front, and his book is a series of flashlights thrown upon men in dramatic situations, rather than a tracing of causes to their consequences. The very titles of his chapters--"Astraea Redux," "Windbags," "Broglie the War God"--do violence to our conception of history, and are more suggestive of Carlyle's individualism than of French history. He is here the preacher rather than the historian; his text is the eternal justice; and his message is that all wrongdoing is inevitably followed by vengeance. His method is intensely dramatic. From a mass of historical details he selects a few picturesque incidents and striking figures, and his vivid pictures of the storming of the Bastille, the rush of the mob to Versailles, the death of Louis XVI, and the Reign of Terror, seem like the work of an eyewitness⁴⁹⁹ describing some terrible catastrophe⁵⁰⁰. At times, as it portrays⁵⁰¹ Danton, Robespierre, and the great characters of the tragedy, Carlyle's work is suggestive of an historical play of Shakespeare; and again, as it describes the rush and riot of men led by elemental passion, it is more like a great prose epic. Though not a reliable history in any sense, it is one of the most dramatic and stirring narratives in our language.

Oliver CromwellTwo other historical works deserve at least a passing notice. The History of Frederick the Great (1858-1865), in six volumes, is a colossal⁵⁰² picture of the life and times of the hero of the Prussian Empire. Oliver Cromwell's Letters and Speeches is, in our personal judgment, Carlyle's best historical work. His idea is to present the very soul of the great Puritan leader. He gives us, as of first importance, Cromwell's own words, and connects them by a commentary in which other men and events are described with vigor and vividness. Cromwell was one of Carlyle's greatest heroes, and in this case he is most careful to present the facts which occasion his own enthusiasm. The result is, on the whole, the most lifelike picture of a great historical character that we possess. Other historians had heaped calumny⁵⁰³ upon Cromwell till the English public regarded him with prejudice and horror; and it is an indication of Carlyle's power that by a single book he revolutionized England's opinion of one of her greatest men.

Sartor ResartusCarlyle's Sartor Resartus (1834), his only creative work, is a mixture of philosophy and romance, of wisdom and nonsense,--a chaotic⁵⁰⁴ jumble of the author's thoughts, feelings, and experiences during the first thirty-five years of his life. The title, which means "The Tailor Patched-up," is taken from an old Scotch song. The hero is Diogenes Teufelsdroeckh, a German professor at the University of Weissnichtwo (don't know where); the narrative concerns this queer professor's life and opinions; and the central thought of the book is the philosophy of clothes, which are considered symbolically⁵⁰⁵ as the outward expression of spirit. Thus, man's body is the outward garment of his soul, and the universe is the visible garment of the invisible God. The arrangement of Sartor is clumsy and hard to follow. In order to leave himself free to bring in everything he thought about, Carlyle assumed the position of one who was translating and editing the old professor's manuscripts, which are supposed to consist of numerous sheets stuffed into twelve paper bags, each labeled with a sign of the zodiac. The editor pretends to make order out of this chaos⁵⁰⁷; but he is free to jump from one subject to another and to state the most startling opinion by simply using quotation⁵⁰⁸ marks and adding a note that he is not responsible for Teufelsdroeckh's crazy notions,--which are in reality Carlyle's own dreams and ideals. Partly because of the matter, which is sometimes incoherent, partly because of the style, which, though picturesque, is sometimes confused and ungrammatical, Sartor is not easy reading; but it amply repays whatever time and study we give to it. Many of its passages are more like poetry than prose; and one cannot read such chapters as "The Everlasting No," "The Everlasting Yea," "Reminiscences," and "Natural Supernaturalism," and be quite the same man afterwards; for Carlyle's thought has entered into him, and he walks henceforth more gently, more reverently⁵⁰⁹ through the world, as in the presence of the Eternal.

Carlyle's StyleGeneral Characteristics. Concerning Carlyle's style there are almost as many opinions as there are readers. This is partly because he impresses different people in widely different ways, and partly because his expression varies greatly. At times he is calm, persuasive⁵¹⁰, grimly humorous, as if conversing; at other times, wildly exclamatory, as if he were shouting and waving his arms at the reader. We have spoken of Macaulay's style as that of the finished orator, and we might reasonably speak of Carlyle's as that of the exhorter⁵¹¹, who cares little for methods so long as he makes a strong impression on his hearers. "Every sentence is alive to its finger tips," writes a modern critic; and though Carlyle often violates the rules of grammar and rhetoric⁵¹², we can well afford to let an original genius express his own intense conviction in his own vivid and picturesque way.

His MessageCarlyle's message may be summed up in two imperatives,--labor, and be sincere. He lectured and wrote chiefly for the upper classes who had begun to think, somewhat sentimentally⁵¹³, of the conditions of the laboring⁵¹⁴ men of the world; and he demanded for the latter, not charity or pity, but justice and honor. All labor, whether of head or hand, is divine; and labor alone justifies⁵¹⁵ a man as a son of earth and heaven. To society, which Carlyle thought to be occupied wholly with conventional affairs, he came with the stamp of sincerity, calling upon men to lay aside hypocrisy⁵¹⁶ and to think and speak and live the truth. He had none of Addison's delicate satire and humor, and in his fury at what he thought was false he was generally unsympathetic and often harsh; but we must not forget that Thackeray--who knew society much better than did Carlyle--gave a very unflattering picture of it in Vanity Fair and The Book of Snobs. Apparently the age needed plain speaking, and Carlyle furnished it in scripture⁵¹⁷ measure. Harriet Martineau, who knew the world for which Carlyle wrote, summed up his influence when she said that he had "infused into the mind of the English nation ... sincerity, earnestness, healthfulness, and courage." If we add to the above message Carlyle's conceptions of the world as governed by a God of justice who never forgets, and of human history as "an inarticulate Bible," slowly revealing the divine purpose, we shall understand better the force of his ethical appeal and the profound influence he exercised on the moral and intellectual life of the past century.

JOHN RUSKIN (1819-1900)

In approaching the study of Ruskin we are to remember, first of all, that we are dealing⁵¹⁸ with a great and good man, who is himself more inspiring than any of his books. In some respects he is like his friend Carlyle, whose disciple⁴ he acknowledged himself to be; but he is broader in his sympathies, and in every way more hopeful, helpful, and humane⁵¹⁹. Thus, in the face of the drudgery⁵²⁰ and poverty of the competitive system, Carlyle proposed, with the grim satire of Swift's "Modest Proposal," to organize an annual hunt in which successful people should shoot the unfortunate, and to use the game for the support of the army and navy. Ruskin, facing the same problem, wrote: "I will endure it no longer quietly; but henceforward, with any few or many who will help, do my best to abate⁵²¹ this misery." Then, leaving the field of art criticism, where he was the acknowledged leader, he begins to write of labor and justice; gives his fortune in charity, in establishing schools and libraries; and founds his St. George's Guild⁵²² of workingmen, to put in practice the principles of brotherhood and cooperation for which he and Carlyle contended. Though his style marks him as one of the masters of English prose, he is generally studied not as a literary man but as an ethical teacher, and we shall hardly appreciate his works unless we see behind every book the figure of the heroically sincere man who wrote it.

Life. Ruskin was born in London, in 1819. His father was a prosperous wine merchant who gained a fortune in trade, and who spent his leisure hours in the company of good books and pictures. On his tombstone one may still read this inscription written by Ruskin: "He was an entirely honest merchant and his memory is to all who keep it dear and helpful. His son, whom he loved to the uttermost and taught to speak truth, says this of him." Ruskin's mother, a devout⁵²³ and somewhat austere⁵²⁴ woman, brought her son up with Puritanical⁵²⁵ strictness, not forgetting Solomon's injunction that "the rod and reproof⁵²⁶ give wisdom."

Of Ruskin's early years at Herne Hill, on the outskirts of London, it is better to read his own interesting record in Praeterita. It was in some respects a cramped⁵²⁷ and lonely childhood, but certain things which strongly molded his character are worthy of mention. First, he was taught by word and example in all things to speak the truth, and he never forgot the lesson. Second, he had few toys, and spent much time in studying the leaves, the flowers, the grass, the clouds, even the figures and colors of the carpet, and so laid the foundation for that minute and accurate observation which is manifest in all his writings. Third, he was educated first by his mother, then by private tutors, and so missed the discipline of the public schools. The influence of this lonely training is evident in all his work. Like Carlyle, he is often too positive and dogmatic,--the result of failing to test his work by the standards of other men of his age. Fourth, he was obliged to read the Bible every day and to learn long passages verbatim. The result of this training was, he says, "to make every word of the Scriptures⁵²⁸ familiar to my ear in habitual⁵²⁹ music." We can hardly read a page of his later work without finding some reflection of the noble simplicity or vivid imagery of the sacred records. Fifth, he traveled much with his father and mother, and his innate love of nature was intensified⁵³⁰ by what he saw on his leisurely⁵³¹ journeys through the most beautiful parts of England and the Continent.

Ruskin entered Christ Church College, Oxford⁵³², in 1836, when only seventeen years old. He was at this time a shy, sensitive boy, a lover of nature and of every art which reflects nature, but almost entirely ignorant of the ways of boys and men. An attack of consumption, with which he had long been threatened, caused him to leave Oxford in 1840, and for nearly two years he wandered over Italy searching for health and cheerfulness, and gathering materials for the first volume of Modern Painters, the book that made him famous.

Illustration: JOHN RUSKIN
JOHN RUSKIN

Ruskin's literary work began in childhood, when he was encouraged to write freely in prose and poetry. A volume of poems illustrated⁵³³ by his own drawings was published in 1859, after he had won fame as a prose writer, but, save for the drawings, it is of small importance. The first volume of Modern Painters (1843) was begun as a heated defense⁵³⁴ of the artist Turner, but it developed into an essay on art as a true picture of nature, "not only in her outward aspect but in her inward spirit." The work, which was signed simply "Oxford Graduate," aroused a storm of mingled approval and protest; but however much critics warred over its theories of art, all were agreed that the unknown author was a master of descriptive prose. Ruskin now made frequent trips to the art galleries of the Continent, and produced four more volumes of Modern Painters during the next seventeen years. Meanwhile he wrote other books,--Seven Lamps of Architecture (1849), Stones of Venice (1851-1853), Pre-Raphaelitism, and numerous lectures and essays, which gave him a place in the world of art similar to that held by Matthew Arnold in the world of letters. In 1869 he was appointed professor of art at Oxford, a position which greatly increased his prestige and influence, not only among students but among a great variety of people who heard his lectures and read his published works. Lectures on Art, Aratra Pentelici (lectures on sculpture), Ariadne Florentina (lectures on engraving), Michael Angela and Tintoret, The Art of England, Val d'Arno (lectures on Tuscan art), St. Mark's Rest (a history of Venice), Mornings in Florence (studies in Christian art, now much used as a guidebook to the picture galleries of Florence), The Laws of Fiesole (a treatise⁵³⁵ on drawing and painting for schools), Academy of Fine Arts in Venice, Pleasures of England,--all these works on art show Ruskin's literary industry. And we must also record Love's Meinie (a study of birds), Proserpina (a study of flowers), Deucalion (a study of waves and stones), besides various essays on political economy which indicate that Ruskin, like Arnold, had begun to consider the practical problems of his age.

At the height of his fame, in 1860, Ruskin turned for a time from art, to consider questions of wealth and labor,--terms which were used glibly⁵³⁶ by the economists⁵³⁷ of the age without much thought for their fundamental meaning. "There is no wealth but life," announced Ruskin,--"life, including all its powers of love, of joy, and of admiration. That country is the richest which nourishes the greatest number of noble and happy human beings." Such a doctrine, proclaimed by Goldsmith in his Deserted⁵³⁸ Village, was regarded as a pretty sentiment, but coming from one of the greatest leaders and teachers of England it was like a bombshell. Ruskin wrote four essays establishing this doctrine and pleading for a more socialistic form of government in which reform might be possible. The essays were published in the Cornhill Magazine, of which Thackeray was editor, and they aroused such a storm that the publication was discontinued. Ruskin then published the essays in book form, with the title Unto This Last, in 1862. Munera Pulveris (1862) was another work in which the principles of capital and labor and the evils of the competitive system were discussed in such a way that the author was denounced as a visionary or a madman. Other works of this practical period are Time and Tide, Fors Clavigera, Sesame and Lilies, and the Crown of Wild Olive.

The latter part of Ruskin's life was a time of increasing sadness, due partly to the failure of his plans, and partly to public attacks upon his motives or upon his sanity¹¹⁹. He grew bitter at first, as his critics ridiculed⁵³⁹ or denounced his principles, and at times his voice is as querulous as that of Carlyle. We are to remember, however, the conditions under which he struggled. His health had been shattered by successive attacks of disease; he had been disappointed in love; his marriage was unhappy; and his work seemed a failure. He had given nearly all his fortune in charity, and the poor were more numerous than ever before. His famous St. George's Guild was not successful, and the tyranny of the competitive system seemed too deeply rooted to be overthrown⁵⁴⁰. On the death of his mother he left London and, in 1879, retired to Brantwood, on Coniston Lake, in the beautiful region beloved of Wordsworth. Here he passed the last quiet years of his life under the care of his cousin, Mrs. Severn, the "angel of the house," and wrote, at Professor Norton's suggestion, Praeterita, one of his most interesting books, in which he describes the events of his youth from his own view point. He died quietly in 1900, and was buried, as he wished, without funeral pomp or public ceremony, in the little churchyard at Coniston.

Works of Ruskin. There are three little books which, in popular favor, stand first on the list of Ruskin's numerous works,--Ethics-of-the-Dust, a series of Lectures to Little Housewives, which appeals most to women; Crown of Wild Olive, three lectures on Work, Traffic, and War, which appeals to thoughtful men facing the problems of work and duty; and Sesame and Lilies, which appeals to men and women alike. The last is the most widely known of Ruskin's works and the best with which to begin our reading.

Sesame and LiliesThe first thing we notice in Sesame and Lilies is the symbolical⁵⁰⁶ title. "Sesame," taken from the story of the robbers' cave in the Arabian Nights, means a secret word or talisman⁵⁴¹ which unlocks a treasure house. It was intended, no doubt, to introduce the first part of the work, called "Of Kings' Treasuries," which treats of books and reading. "Lilies," taken from Isaiah as a symbol of beauty, purity, and peace, introduces the second lecture, "Of Queens' Gardens," which is an exquisite study of woman's life and education. These two lectures properly constitute the book, but a third is added, on "The Mystery of Life." The last begins in a monologue²¹⁸ upon his own failures in life, and is pervaded by an atmosphere of sadness, sometimes of pessimism, quite different from the spirit of the other two lectures.

Kings' TreasuriesThough the theme of the first lecture is books, Ruskin manages to present to his audience his whole philosophy of life. He gives us, with a wealth of detail, a description of what constitutes a real book; he looks into the meaning of words, and teaches us how to read, using a selection from Milton's Lycidas as an illustration. This study of words gives us the key with which we are to unlock "Kings' Treasuries," that is, the books which contain the precious thoughts of the kingly minds of all ages. He shows the real meaning and end of education, the value of labor and of a purpose in life; he treats of nature, science, art, literature, religion; he defines the purpose of government, showing that soul-life, not money or trade, is the measure of national greatness; and he criticises the general injustice of his age, quoting a heartrending story of toil and suffering from the newspapers to show how close his theory is to daily needs. Here is an astonishing variety in a small compass; but there is no confusion. Ruskin's mind was wonderfully analytical⁵⁴², and one subject develops naturally from the other.

Of Queens' GardensIn the second lecture, "Of Queens' Gardens," he considers the question of woman's place and education, which Tennyson had attempted to answer in The Princess. Ruskin's theory is that the purpose of all education is to acquire power to bless and to redeem⁵⁴³ human society; and that in this noble work woman must always play the leading part. He searches all literature for illustrations, and his description of literary heroines, especially of Shakespeare's perfect women, is unrivaled. Ruskin is always at his best in writing of women or for women, and the lofty idealism of this essay, together with its rare beauty of expression, makes it, on the whole, the most delightful and inspiring of his works.

Unto This LastAmong Ruskin's practical works the reader will find in Fors Clavigera, a series of letters to workingmen, and Unto This Last, four essays on the principles of political economy, the substance of his economic teachings. In the latter work, starting with the proposition that our present competitive system centers about the idea of wealth, Ruskin tries to find out what wealth is; and the pith of his teaching is this,--that men are of more account than money; that a man's real wealth is found in his soul; not in his pocket; and that the prime object of life and labor is "the producing of as many as possible full-breathed, bright-eyed, and happy-hearted human creatures." To make this ideal practical, Ruskin makes four suggestions: (1) that training schools be established to teach young men and women three things,--the laws and practice of health, habits of gentleness and justice, and the trade or calling by which they are to live; (2) that the government establish farms and workshops for the production of all the necessaries of life, where only good and honest work shall be tolerated and where a standard of work and wages shall be maintained; (3) that any person out of employment shall be received at the nearest government school: if ignorant he shall be educated, and if competent to do any work he shall have the opportunity to do it; (4) that comfortable homes be provided for the sick and for the aged, and that this be done in justice, not in charity. A laborer serves his country as truly as does a soldier or a statesman, and a pension should be no more disgraceful in one case than in the other.

Works on ArtAmong Ruskin's numerous books treating of art, we recommend the Seven Lamps of Architecture (1849), Stones of Venice (1851-1853), and the first two volumes of Modern Painters (1843-1846). With Ruskin's art theories, which, as Sydney Smith prophesied⁵⁴⁴, "worked a complete revolution in the world of taste," we need not concern ourselves here. We simply point out four principles that are manifest in all his work: (1) that the object of art, as of every other human endeavor, is to find and to express the truth; (2) that art, in order to be true, must break away from conventionalities and copy nature; (3) that morality is closely allied⁵⁴⁵ with art, and that a careful study of any art reveals the moral strength or weakness of the people that produced it; (4) that the main purpose of art is not to delight a few cultured people but to serve the daily uses of common life. "The giving brightness to pictures is much," he says, "but the giving brightness to life is more." In this attempt to make art serve the practical ends of life, Ruskin is allied with all the great writers of the period, who use literature as the instrument of human progress.

General Characteristics. One who reads Ruskin is in a state of mind analogous⁵⁴⁶ to that of a man who goes through a picture gallery, pausing now to admire a face or a landscape for its own sake, and again to marvel¹⁰³ at the technical skill of the artist, without regard to his subject. For Ruskin is a great literary artist and a great ethical teacher, and we admire one page for its style, and the next for its message to humanity. The best of his prose, which one may find in the descriptive passages of Pr?terita and Modern Painters, is written in a richly ornate style, with a wealth of figures and allusions, and at times a rhythmic, melodious quality which makes it almost equal to poetry. Ruskin had a rare sensitiveness to beauty in every form, and more, perhaps, than any other writer in our language, he has helped us to see and appreciate the beauty of the world around us.

Ethical TeachingAs for Ruskin's ethical teaching, it appears in so many forms and in so many different works that any summary must appear inadequate. For a full half century he was "the apostle of beauty" in England, and the beauty for which he pleaded was never sensuous⁵⁴⁷ or pagan, as in the Renaissance, but always spiritual, appealing to the soul of man rather than to his eyes, leading to better work and better living. In his economic essays Ruskin is even more directly and positively⁵⁴⁸ ethical. To mitigate the evils of the unreasonable⁵⁴⁹ competitive system under which we labor and sorrow; to bring master and man together in mutual trust and helpfulness; to seek beauty, truth, goodness as the chief ends of life, and, having found them, to make our characters correspond; to share the best treasures of art and literature with rich and poor alike; to labor always, and, whether we work with hand or head, to do our work in praise of something that we love,--this sums up Ruskin's purpose and message. And the best of it is that, like Chaucer's country parson, he practiced his doctrine before he preached it.

MATTHEW ARNOLD (1822-1888)

In the world of literature Arnold has occupied for many years an authoritative⁵⁵⁰ position as critic and teacher, similar to that held by Ruskin in the world of art. In his literary work two very different moods are manifest. In his poetry he reflects the doubt of an age which witnessed the conflict between science and revealed religion. Apparently he never passed through any such decisive personal struggle as is recorded in Sartor Resartus, and he has no positive conviction such as is voiced in "The Everlasting Yea." He is beset⁵⁵¹ by doubts which he never settles, and his poems generally express sorrow or regret or resignation. In his prose he shows the cavalier spirit,--aggressive, light-hearted, self-confident. Like Carlyle, he dislikes shams, and protests against what he calls the barbarisms of society; but he writes with a light touch, using satire and banter⁵⁵² as the better part of his argument. Carlyle denounces with the zeal of a Hebrew prophet, and lets you know that you are hopelessly lost if you reject his message. Arnold is more like the cultivated Greek; his voice is soft, his speech suave⁵⁵³, but he leaves the impression, if you happen to differ with him, that you must be deficient⁵⁵⁴ in culture. Both these men, so different in spirit and methods, confronted the same problems, sought the same ends, and were dominated by the same moral sincerity.

Life. Arnold was born in Laleham, in the valley of the Thames, in 1822. His father was Dr. Thomas Arnold, head master of Rugby, with whom many of us have grown familiar by reading Tom Brown's School Days. After fitting for the university at Winchester and at Rugby, Arnold entered Balliol College, Oxford, where he was distinguished by winning prizes in poetry and by general excellence⁵⁵⁵ in the classics. More than any other poet Arnold reflects the spirit of his university. "The Scholar-Gipsy" and "Thyrsis" contain many references to Oxford and the surrounding country, but they are more noticeable for their spirit of aloofness,--as if Oxford men were too much occupied with classic dreams and ideals to concern themselves with the practical affairs of life.

After leaving the university Arnold first taught the classics at Rugby; then, in 1847, he became private secretary to Lord Lansdowne, who appointed the young poet to the position of inspector⁵⁵⁶ of schools under the government. In this position Arnold worked patiently for the next thirty-five years, traveling about the country, examining teachers, and correcting endless examination papers. For ten years (1857-1867) he was professor of poetry at Oxford, where his famous lectures On Translating Homer were given. He made numerous reports on English and foreign schools, and was three times sent abroad to study educational methods on the Continent. From this it will be seen that Arnold led a busy, often a laborious life, and we can appreciate his statement that all his best literary work was done late at night, after a day of drudgery. It is well to remember that, while Carlyle was preaching about labor, Arnold labored daily; that his work was cheerfully and patiently done; and that after the day's work he hurried away, like Lamb, to the Elysian fields of literature. He was happily married, loved his home, and especially loved children, was free from all bitterness and envy, and, notwithstanding his cold manner, was at heart sincere, generous, and true. We shall appreciate his work better if we can see the man himself behind all that he has written.

Arnold's literary work divides itself into three periods, which we may call the poetical, the critical, and the practical. He had written poetry since his school days, and his first volume, The Strayed Reveller⁵⁵⁷ and Other Poems, appeared anonymously in 1849. Three years later he published Empedocles on Etna and other Poems; but only a few copies of these volumes were sold, and presently both were withdrawn⁵⁵⁸ from circulation. In 1853-1855 he published his signed Poems, and twelve years later appeared his last volume of poetry. Compared with the early work of Tennyson, these works met with little favor, and Arnold practically abandoned poetry in favor of critical writing.

The chief works of his critical period are the lectures On Translating Homer (1861) and the two volumes of Essays in Criticism (1865-1888), which made Arnold one of the best known literary men in England. Then, like Ruskin, he turned to practical questions, and his Friendship's Garland (1871) was intended to satirize and perhaps reform the great middle class of England, whom he called the Philistines⁵⁶⁰. Culture and Anarchy, the most characteristic work of his practical period, appeared in 1869. These were followed by four books on religious subjects,--St. Paul and Protestantism (1870), Literature and Dogma (1873), God and the Bible (1875), and Last Essays on Church and Religion (1877). The Discourses⁵⁶¹ in America (1885) completes the list of his important works. At the height of his fame and influence he died suddenly, in 1888, and was buried in the churchyard at Laleham. The spirit of his whole life is well expressed in a few lines of one of his own early sonnets:

    One lesson, Nature, let me learn of thee,
    One lesson which in every wind is blown,
    One lesson of two duties kept at one
    Though the loud world proclaim their enmity--
    Of toil unsever'd from tranquillity⁵⁶²;
    Of labour, that in lasting⁴⁷⁹ fruit outgrows⁵⁶³
    Far noisier schemes, accomplish'd in repose⁵⁶⁴,
    Too great for haste, too high for rivalry⁵⁶⁵.

His Poetry.Works of Matthew Arnold. We shall better appreciate Arnold's poetry if we remember two things: First, he had been taught in his home a simple and devout faith in revealed religion, and in college he was thrown into a world of doubt and questioning. He faced these doubts honestly, reverently,--in his heart longing to accept the faith of his fathers, but in his head demanding proof and scientific exactness. The same struggle between head and heart, between reason and intuition, goes on to-day, and that is one reason why Arnold's poetry, which wavers on the borderland between doubt and faith, is a favorite with many readers. Second, Arnold, as shown in his essay on The Study of Poetry, regarded poetry as "a criticism of life under the conditions fixed⁵⁶⁶ for such criticism by the laws of poetic truth and poetic beauty." Naturally, one who regards poetry as a "criticism" will write very differently from one who regards poetry as the natural language of the soul. He will write for the head rather than for the heart, and will be cold and critical rather than enthusiastic. According to Arnold, each poem should be a unit, and he protested against the tendency of English poets to use brilliant phrases and figures of speech which only detract attention from the poem as a whole. For his models he went to Greek poetry, which he regarded as "the only sure guidance to what is sound and true in poetical art." Arnold is, however, more indebted than he thinks to English masters, especially to Wordsworth and Milton, whose influence is noticeable in a large part of his poetry.

Of Arnold's narrative poems the two best known are Balder Dead (1855), an incursion into the field of Norse mythology⁵⁶⁷ which is suggestive of Gray, and Sohrab and Rustum (1853), which takes us into the field of legendary⁵⁶⁸ Persian history. The theme of the latter poem is taken from the Shah-Namah (Book of Kings) of the Persian poet Firdausi, who lived and wrote in the eleventh century.

Sohrab and RustrumBriefly, the story is of one Rustem or Rustum, a Persian Achilles, who fell asleep one day when he had grown weary of hunting. While he slept a band of robbers stole his favorite horse, Ruksh. In trailing the robbers Rustum came to the palace of the king of Samengan, where he was royally welcomed, and where he fell in love with the king's daughter, Temineh, and married her. But he was of a roving, adventurous⁵⁷⁰ disposition, and soon went back to fight among his own people, the Persians. While he was gone his son Sohrab was born, grew to manhood, and became the hero of the Turan army. War arose between the two peoples, and two hostile armies were encamped by the Oxus. Each army chose a champion, and Rustum and Sohrab found themselves matched in mortal combat between the lines. At this point Sohrab, whose chief interest in life was to find his father, demanded to know if his enemy were not Rustum; but the latter was disguised and denied his identity. On the first day of the fight Rustum was overcome, but his life was spared by a trick and by the generosity⁵⁷¹ of Sohrab. On the second day Rustum prevailed, and mortally wounded his antagonist⁵⁷². Then he recognized his own son by a gold bracelet⁵⁷³ which he had long ago given to his wife Temineh. The two armies, rushing into battle, were stopped by the sight of father and son weeping in each other's arms. Sohrab died, the war ceased, and Rustum went home to a life of sorrow and remorse.

Using this interesting material, Arnold produced a poem which has the rare and difficult combination of classic reserve and romantic feeling. It is written in blank verse, and one has only to read the first few lines to see that the poet is not a master of his instrument. The lines are seldom harmonious⁵⁷⁴, and we must frequently change the accent of common words, or lay stress on unimportant particles, to show the rhythm. Arnold frequently copies Milton, especially in his repetition of ideas and phrases; but the poem as a whole is lacking in Milton's wonderful melody.

The classic influence on Sohrab and Rustum is especially noticeable in Arnold's use of materials. Fights are short; grief is long; therefore the poet gives few lines to the combat, but lingers over the son's joy at finding his father, and the father's quenchless⁵⁷⁵ sorrow at the death of his son. The last lines especially, with their "passionate grief set to solemn music," make this poem one of the best, on the whole, that Arnold has written. And the exquisite ending, where the Oxus, unmindful of the trivial strifes of men, flows on sedately⁵⁷⁶ to join "his luminous⁵⁷⁷ home of waters" is most suggestive of the poet's conception of the orderly life of nature, in contrast with the doubt and restlessness of human life.

Miscellaneous PoemsNext in importance to the narrative poems are the elegies⁵⁷⁸, "Thyrsis," "The Scholar-Gipsy," "Memorial Verses," "A Southern Night," "Obermann," "Stanzas⁵⁷⁹ from the Grande Chartreuse," and "Rugby Chapel⁵⁸⁰." All these are worthy of careful reading, but the best is "Thyrsis," a lament⁵⁸¹ for the poet Clough, which is sometimes classed with Milton's Lycidas and Shelley's Adonais. Among the minor poems the reader will find the best expression of Arnold's ideals and methods in "Dover Beach," the love lyrics entitled "Switzerland," "Requiescat," "Shakespeare," "The Future," "Kensington Gardens," "Philomela," "Human Life," "Callicles's Song," "Morality," and "Geist's Grave."--the last being an exquisite tribute to a little dog which, like all his kind, had repaid our scant crumbs⁵⁸² of affection with a whole life's devotion.

Essays in CriticismThe first place among Arnold's prose works must be given to the Essays in Criticism, which raised the author to the front rank of living critics. His fundamental idea of criticism appeals to us strongly. The business of criticism, he says, is neither to find fault nor to display the critic's own learning or influence; it is to know "the best which has been thought and said in the world," and by using this knowledge to create a current of fresh and free thought. If a choice must be made among these essays, which are all worthy of study, we would suggest "The Study of Poetry," "Wordsworth," "Byron," and "Emerson." The last-named essay, which is found in the Discourses in America, is hardly a satisfactory estimate of Emerson, but its singular charm of manner and its atmosphere of intellectual culture make it perhaps the most characteristic of Arnold's prose writings.

Among the works of Arnold's practical period there are two which may be taken as typical of all the rest. Literature and Dogma (1873) is, in general, a plea for liberality in religion. Arnold would have us read the Bible, for instance, as we would read any other great work, and apply to it the ordinary standards of literary criticism.

Culture and AnarchyCulture and Anarchy (1869) contains most of the terms--culture, sweetness and light, Barbarian⁵⁸³, Philistine⁵⁵⁹, Hebraism, and many others--which are now associated with Arnold's work and influence. The term "Barbarian" refers to the aristocratic classes, whom Arnold thought to be essentially crude in soul, notwithstanding their good clothes and superficial graces. "Philistine" refers to the middle classes,--narrow-minded and self-satisfied people, according to Arnold, whom he satirizes⁵⁸⁴ with the idea of opening their minds to new ideas. "Hebraism" is Arnold's term for moral education. Carlyle had emphasized the Hebraic or moral element in life, and Arnold undertook to preach the Hellenic or intellectual element, which welcomes new ideas, and delights in the arts that reflect the beauty of the world. "The uppermost idea with. Hellenism," he says, "is to see things as they are; the uppermost idea with Hebraism is conduct and obedience⁵⁸⁵." With great clearness, sometimes with great force, and always with a play of humor and raillery aimed at the "Philistines," Arnold pleads for both these elements in life which together aim at "Culture," that is, at moral and intellectual perfection.

General Characteristics. Arnold's influence in our literature may be summed up, in a word, as intellectual rather than inspirational. One cannot be enthusiastic over his poetry, for the simple reason that he himself lacked enthusiasm. He is, however, a true reflection of a very real mood of the past century, the mood of doubt and sorrow; and a future generation may give him a higher place than he now holds as a poet. Though marked by "the elemental note of sadness," all Arnold's poems are distinguished by clearness, simplicity, and the restrained emotion of his classic models.

As a prose writer the cold intellectual quality, which mars his poetry by restraining romantic feeling, is of first importance, since it leads him to approach literature with an open mind and with the single desire to find "the best which has been thought and said in the world." We cannot yet speak with confidence of his rank in literature; but by his crystal-clear style, his scientific spirit of inquiry⁵⁸⁶ and comparison, illumined here and there by the play of humor, and especially by his broad sympathy and intellectual culture, he seems destined to occupy a very high place among the masters of literary criticism.

JOHN HENRY NEWMAN (1801-1890)

Any record of the prose literature of the Victorian era, which includes the historical essays of Macaulay and the art criticism of Ruskin, should contain also some notice of its spiritual leaders. For there was never a time when the religious ideals that inspire the race were kept more constantly before men's minds through the medium of literature.

Among the religious writers of the age the first place belongs unquestionably to Cardinal⁵⁸⁷ Newman. Whether we consider him as a man, with his powerful yet gracious personality, or as a religious reformer, who did much to break down old religious prejudices by showing the underlying beauty and consistency⁵⁸⁸ of the Roman church, or as a prose writer whose style is as near perfection as we have ever reached, Newman is one of the most interesting figures of the whole nineteenth century.

Life. Three things stand out clearly in Newman's life: first, his unshaken faith in the divine companionship and guidance; second, his desire to find and to teach the truth of revealed religion; third, his quest of an authoritative standard of faith, which should remain steadfast⁵⁸⁹ through the changing centuries and amid all sorts and conditions of men. The first led to that rare and beautiful spiritual quality which shines in all his work; the second to his frequent doctrinal and controversial essays; the third to his conversion⁵⁹⁰ to the Catholic church, which he served as priest and teacher for the last forty-five years of his life. Perhaps we should add one more characteristic,--the practical bent⁵⁹¹ of his religion; for he was never so busy with study or controversy⁵⁹² that he neglected to give a large part of his time to gentle ministration among the poor and needy⁵⁹³.

He was born in London, in 1801. His father was an English banker; his mother, a member of a French Huguenot family, was a thoughtful, devout woman, who brought up her son in a way which suggests the mother of Ruskin. Of his early training, his reading of doctrinal and argumentative works, and of his isolation⁵⁹⁴ from material things in the thought that there were "two and only two absolute and luminously⁵⁹⁵ self-evident beings in the world," himself and his Creator, it is better to read his own record in the Apologia, which is a kind of spiritual biography.

At the age of fifteen Newman had begun his profound study of theological subjects. For science, literature, art, nature,--all the broad interests which attracted other literary men of his age,--he cared little, his mind being wholly occupied with the history and doctrines⁵⁹⁶ of the Christian church, to which he had already devoted his life. He was educated first at the school in Ealing, then at Oxford, taking his degree in the latter place in 1820. Though his college career was not more brilliant than that of many unknown men, his unusual ability was recognized and he was made a fellow of Oriel College, retaining the fellowship, and leading a scholarly life for over twenty years. In 1824 he was ordained⁵⁹⁷ in the Anglican church, and four years later was chosen vicar of St. Mary's, at Oxford, where his sermons made a deep impression on the cultivated audiences that gathered from far and near to hear him.

Illustration: QUADRANGLE OF ORIEL COLLEGE, OXFORD
QUADRANGLE OF ORIEL COLLEGE, OXFORD

A change is noticeable in Newman's life after his trip to the Mediterranean⁵⁹⁸ in 1832. He had begun his life as a Calvinist, but while in Oxford, then the center of religious unrest, he described himself as "drifting in the direction of Liberalism." Then study and bereavement⁵⁹⁹ and an innate mysticism led him to a profound sympathy with the medi?val Church. He had from the beginning opposed Catholicism; but during his visit to Italy, where he saw the Roman church at the center of Its power and splendor⁶⁰⁰, many of his prejudices were overcome. In this enlargement of his spiritual horizon Newman was greatly influenced by his friend Hurrell Froude, with whom he made the first part of the journey. His poems of this period (afterwards collected in the Lyra Apostolica), among which is the famous "Lead, Kindly Light," are noticeable for their radiant spirituality; but one who reads them carefully sees the beginning of that mental struggle which ended in his leaving the church in which he was born. Thus he writes of the Catholic church, whose services he had attended as "one who in a foreign land receives the gifts of a good Samaritan":

    O that thy creed were sound!
        For thou dost soothe⁶⁰¹ the heart, thou church of Rome,
    By thy unwearied watch and varied round
        Of service, in thy Saviour's holy home.
    I cannot walk the city's sultry streets,
    But the wide porch invites to still retreats,
        Where passion's thirst is calmed, and care's unthankful gloom.

On his return to England, in 1833, he entered into the religious struggle known as the Oxford or Tractarian Movement,[245] and speedily became its acknowledged leader. Those who wish to follow this attempt at religious reform, which profoundly affected⁶⁰² the life of the whole English church, will find it recorded in the Tracts⁴⁹⁴ for the Times, twenty-nine of which were written by Newman, and in his Parochial and Plain Sermons (1837-1843). After nine years of spiritual conflict Newman retired to Littlemore, where, with a few followers⁶⁰³, he led a life of almost monastic seclusion⁶⁰⁴, still striving to reconcile his changing belief with the doctrines of his own church. Two years later he resigned his charge at St. Mary's and left the Anglican communion,--not bitterly, but with a deep and tender regret. His last sermon at Littlemore on "The Parting of Friends" still moves us profoundly, like the cry of a prophet torn by personal anguish⁶⁰⁵ in the face of duty. In 1845 he was received into the Catholic church, and the following year, at Rome, he joined the community of St. Philip Neri, "the saint of gentleness and kindness," as Newman describes him, and was ordained to the Roman priesthood.

By his preaching and writing Newman had exercised a strong influence over his cultivated English hearers, and the effect of his conversion was tremendous. Into the theological controversy of the next twenty years we have no mind to enter. Through it all Newman retained his serenity⁶⁰⁶, and, though a master of irony⁶⁰⁷ and satire, kept his literary power always subordinate to his chief aim, which was to establish the truth as he saw it. Whether or not we agree with his conclusions, we must all admire the spirit of the man, which is above praise or criticism. His most widely read work, Apologia Pro¹ Vita Sua (1864), was written in answer to an unfortunate attack by Charles Kingsley, which would long since have been forgotten had it not led to this remarkable book. In 1854 Newman was appointed rector of the Catholic University in Dublin, but after four years returned to England and founded a Catholic school at Edgbaston. In 1879 he was made cardinal by Pope Leo XIII. The grace and dignity of his life, quite as much as the sincerity of his Apologia, had long since disarmed⁶⁰⁸ criticism, and at his death, in 1890, the thought of all England might well be expressed by his own lines in "The Dream of Gerontius":

    I had a dream. Yes, some one softly said,
        "He's gone," and then a sigh went round the room;
    And then I surely heard a priestly voice
            Cry Subvenite; and they knelt in prayer.

Apologia Pro Vita SuaWorks of Newman. Readers approach Newman from so many different motives, some for doctrine, some for argument, some for a pure prose style, that it is difficult to recommend the best works for the beginner's use. As an expression of Newman's spiritual struggle the Apologia Pro Vita Sua is perhaps the most significant. This book is not light reading and one who opens it should understand clearly the reasons for which it was written. Newman had been accused of insincerity, not only by Kingsley but by many other men, in the public press. His retirement to solitude and meditation⁶⁰⁹ at Littlemore had been outrageously⁶¹⁰ misunderstood, and it was openly charged that his conversion was a cunningly devised plot to win a large number of his followers to the Catholic church. This charge involved others, and it was to defend them, as well as to vindicate⁶¹¹ himself, that Newman wrote the Apologia. The perfect sincerity with which he traced his religious history, showing that his conversion was only the final step in a course he had been following since boyhood, silenced his critics and revolutionized public opinion concerning himself and the church which he had joined. As the revelation of a soul's history, and as a model of pure, simple, unaffected English, this book, entirely apart from its doctrinal teaching, deserves a high place in our prose literature.

CallistaIn Newman's doctrinal works, the Via Media, the Grammar of Assent⁶¹², and in numerous controversial essays the student of literature will have little interest. Much more significant are his sermons, the unconscious reflection of a rare spiritual nature, of which Professor Shairp said: "His power shows itself clearly in the new and unlooked-for way in which he touched into life old truths, moral or spiritual.... And as he spoke⁴⁵, how the old truth became new! and how it came home with a meaning never felt before! He laid his finger how gently yet how powerfully on some inner place in the hearer's heart, and told him things about himself he had never known till then. Subtlest truths, which would have taken philosophers pages of circumlocution⁶¹³ and big words to state, were dropped out by the way in a sentence or two of the most transparent⁶¹⁴ Saxon." Of greater interest to the general reader are The Idea of a University, discourses delivered at Dublin, and his two works of fiction, Loss and Gain, treating of a man's conversion to Catholicism, and Callista, which is, in his own words, "an attempt to express the feelings and mutual relations of Christians⁶¹⁵ and heathens in the middle of the third century." The latter is, in our judgment, the most readable and interesting of Newman's works. The character of Callista, a beautiful Greek sculptor⁶¹⁶ of idols⁶¹⁷, is powerfully delineated; the style is clear and transparent as air, and the story of the heroine's conversion and death makes one of the most fascinating chapters in fiction, though it is not the story so much as the author's unconscious revelation of himself that charms us. It would be well to read this novel in connection with Kingsley's Hypatia, which attempts to reconstruct the life and ideals of the same period.

PoemsNewman's poems are not so well known as his prose, but the reader who examines the Lyra Apostolica and Verses on Various Occasions will find many short poems that stir a religious nature profoundly by their pure and lofty imagination; and future generations may pronounce one of these poems, "The Dream of Gerontius," to be Newman's most enduring work. This poem aims to reproduce the thoughts and feelings of a man whose soul is just quitting the body, and who is just beginning a new and greater life. Both in style and in thought "The Dream" is a powerful and original poem and is worthy of attention not only for itself but, as a modern critic suggests, "as a revelation of that high spiritual purpose which animated Newman's life from beginning to end."

Newman's styleOf Newman's style it is as difficult to write as it would be to describe the dress of a gentleman we had met, who was so perfectly dressed that we paid no attention to his clothes. His style is called transparent, because at first we are not conscious of his manner; and unobtrusive, because we never think of Newman himself, but only of the subject he is discussing. He is like the best French prose writers in expressing his thought with such naturalness and apparent ease that, without thinking of style, we receive exactly the impression which he means to convey. In his sermons and essays he is wonderfully simple and direct; in his controversial writings, gently ironical⁶¹⁸ and satiric⁶¹⁹, and the satire is pervaded by a delicate humor; but when his feelings are aroused he speaks with poetic images and symbols, and his eloquence⁶²⁰ is like that of the Old Testament⁶²¹ prophets. Like Ruskin's, his style is modeled largely on that of the Bible, but not even Ruskin equals him in the poetic beauty and melody of his sentences. On the whole he comes nearer than any other of his age to our ideal of a perfect prose writer.

Critical WritersOther Essayists of the Victorian Age. We have selected the above five essayists, Macaulay, Carlyle, Arnold, Newman, and Ruskin, as representative writers of the Victorian Age; but there are many others who well repay our study. Notable among these are John Addington Symonds, author of The Renaissance in Italy, undoubtedly his greatest work, and of many critical essays; Walter Pater, whose Appreciations⁶²² and numerous other works mark him as one of our best literary critics; and Leslie Stephen, famous for his work on the monumental Dictionary of National Biography, and for his Hours in a Library, a series of impartial⁶²³ and excellent criticisms, brightened by the play of an original and delightful humor.

The ScientistsAmong the most famous writers of the age are the scientists, Lyell, Darwin, Huxley, Spencer, Tyndall, and Wallace,--a wonderful group of men whose works, though they hardly belong to our present study, have exercised an incalculable influence on our life and literature. Darwin's Origin of Species (1859), which apparently established the theory of evolution, was an epoch-making book. It revolutionized not only our conceptions of natural history, but also our methods of thinking on all the problems of human society. Those who would read a summary of the greatest scientific discovery of the age will find it in Wallace's Darwinism,--a most interesting book, written by the man who claims, with Darwin, the honor of first announcing the principle of evolution. And, from a multitude of scientific works, we recommend also to the general reader Huxley's Autobiography⁶²⁴ and his Lay Sermons, Addresses, and Reviews, partly because they are excellent expressions of the spirit and methods of science, and partly because Huxley as a writer is perhaps the clearest and the most readable of the scientists.

The Spirit of Modern Literature. As we reflect on the varied work of the Victorian writers, three marked characteristics invite our attention. First, our great literary men, no less than our great scientists, have made truth the supreme object of human endeavor. All these eager poets, novelists, and essayists, questing over so many different ways, are equally intent on discovering the truth of life. Men as far apart as Darwin and Newman are strangely alike in spirit, one seeking truth in the natural, the other in the spiritual history of the race. Second, literature has become the mirror of truth; and the first requirement of every serious novel or essay is to be true to the life or the facts which it represents. Third, literature has become animated by a definite moral purpose. It is not enough for the Victorian writers to create or attempt an artistic work for its own sake; the work must have a definite lesson for humanity. The poets are not only singers, but leaders; they hold up an ideal, and they compel men to recognize and follow it. The novelists tell a story which pictures human life, and at the same time call us to the work Of social reform, or drive home a moral lesson. The essayists are nearly all prophets or teachers, and use literature as the chief instrument of progress and education. Among them all we find comparatively little of the exuberant⁶²⁵ fancy, the romantic ardor⁶²⁶, and the boyish gladness of the Elizabethans. They write books not primarily to delight the artistic sense, but to give bread to the hungry and water to the thirsty in soul. Milton's famous sentence, "A good book is the precious life-blood of a master spirit," might be written across the whole Victorian era. We are still too near these writers to judge how far their work suffers artistically from their practical purpose; but this much is certain,--that whether or not they created immortal works, their books have made the present world a better and a happier place to live in. And that is perhaps the best that can be said of the work of any artist or artisan.

Summary of the Victorian Age. The year 1830 is generally placed at the beginning of this period, but its limits are very indefinite. In general we may think of it as covering the reign of Victoria (1837-1901). Historically the age is remarkable for the growth of democracy following the Reform Bill of 1832; for the spread of education among all classes; for the rapid development of the arts and sciences; for important mechanical inventions; and for the enormous extension of the bounds of human knowledge by the discoveries of science.

At the accession of Victoria the romantic movement had spent its force; Wordsworth had written his best work; the other romantic poets, Coleridge, Shelley, Keats, and Byron, had passed away; and for a time no new development was apparent in English poetry. Though the Victorian Age produced two great poets, Tennyson and Browning, the age, as a whole, is remarkable for the variety and excellence of its prose. A study of all the great writers of the period reveals four general characteristics: (1) Literature in this Age has come very close to daily life, reflecting its practical problems and interests, and is a powerful instrument of human progress. (2) The tendency of literature is strongly ethical; all the great poets, novelists, and essayists of the age are moral teachers. (3) Science in this age exercises an incalculable influence. On the one hand it emphasizes truth as the sole object of human endeavor; it has established the principle of law throughout the universe; and it has given us an entirely new view of life, as summed up in the word "evolution," that is, the principle of growth or development from simple to complex forms. On the other hand, its first effect seems to be to discourage works of the imagination. Though the age produced an incredible number of books, very few of them belong among the great creative works of literature. (4) Though the age is generally characterized as practical and materialistic⁶²⁷, it is significant that nearly all the writers whom the nation delights to honor vigorously attack materialism, and exalt⁶²⁸ a purely ideal conception of life. On the whole, we are inclined to call this an idealistic age fundamentally, since love, truth, justice, brotherhood--all great ideals--are emphasized as the chief ends of life, not only by its poets but also by its novelists and essayists.

In our study we have considered: (1) The Poets; the life and works of Tennyson and Browning; and the chief characteristics of the minor poets, Elizabeth Barrett (Mrs. Browning), Rossetti, Morris, and Swinburne. (2) The Novelists; the life and works of Dickens, Thackeray, and George Eliot; and the chief works of Charles Reade, Anthony Trollope, Charlotte Bront?, Bulwer-Lytton, Kingsley, Mrs. Gaskell, Blackmore, George Meredith, Hardy, and Stevenson. (3) The Essayists; the life and works of Macaulay, Matthew Arnold, Carlyle, Newman, and Ruskin. These were selected, from among many essayists and miscellaneous writers, as most typical of the Victorian Age. The great scientists, like Lyell, Darwin, Huxley, Wallace, Tyndall, and Spencer, hardly belong to our study of literature, though their works are of vast importance; and we omit the works of living writers who belong to the present rather than to the past century.

Selections for Reading. Manly's English Poetry and Manly's English Prose (Ginn and Company) contain excellent selections from all authors of this period. Many other collections, like Ward¹⁶'s English Poets, Garnett's English Prose from Elizabeth to Victoria, Page's British Poets of the Nineteenth Century, and Stedman's A Victorian Anthology, may be used to advantage. All important works may be found in the convenient and inexpensive school editions given below. (For full titles and publishers see the General Bibliography⁶²⁹.)

Tennyson. Short poems, and selections from Idylls of the King, In Memoriam, Enoch Arden, and The Princess. These are found in various school editions, Standard English Classics, Pocket Classics, Riverside Literature Series, etc. Poems by Tennyson, selected and edited with notes by Henry Van Dyke⁶³⁰ (Athenaeum Press Series), is an excellent little volume for beginners.

Browning. Selections, edited by R.M. Lovett, in Standard English Classics. Other school editions in Everyman's Library, Belles⁶³¹ Lettres Series, etc.

Elizabeth Barrett Browning. Selections, edited by Elizabeth Lee, in Standard English Classics. Selections also in Pocket Classics, etc.

Matthew Arnold. Sohrab and Rustum, edited by Trent and Brewster, in Standard English Classics. The same poem in Riverside Literature Series, etc. Selections in Golden Treasury⁶³² Series, etc. Poems, students' edition (Crowell). Essays in Everyman's Library, etc. Prose selections (Holt, Allyn & Bacon, etc.).

Dickens. Tale of Two Cities, edited by J.W. Linn, in Standard English Classics. A Christmas Carol, David Copperfield, and Pickwick Papers. Various good school editions of these novels in Everyman's Library, etc.

Thackeray. Henry Esmond, edited by H.B. Moore, in Standard English Classics. The same novel, in Everyman's Library, Pocket Classics, etc.

George Eliot. Silas Marner, edited by R. Adelaide Witham, in Standard English Classics. The same novel, in Pocket Classics, etc.

Carlyle. Essay on Burns, edited by C.L. Hanson, in Standard English Classics, and Heroes and Hero Worship, edited by A. MacMechan, in Athenaeum Press Series. Selections, edited by H.W. Boynton (Allyn & Bacon). Various other inexpensive editions, in Pocket Classics, Eclectic English Classics, etc.

Ruskin. Sesame and Lilies, edited by Lois G. Hufford, in Standard English Classics. Other editions in Riverside Literature, Everyman's Library, etc. Selected Essays and Letters, edited by Hufford, in Standard English Classics. Selections, edited by Vida D. Scudder (Sibley); edited by C.B. Tinker, in Riverside Literature.

Macaulay. Essays on Addison and Milton, edited by H.A. Smith, in Standard English Classics. Same essays, in Cassell's National Library, Riverside Literature, etc. Lays of Ancient Rome, in Standard English Classics, Pocket Classics, etc.

Newman. Selections, with introduction by L.E. Gates (Holt); Selections from prose and poetry, in Riverside Literature. The Idea of a University, in Manly's English Prose.

Bibliography. (note. For full titles and publishers of general reference books, see General Bibliography.) History. Text-book, Montgomery, pp. 357-383; Cheyney, pp. 632-643. General Works. Gardiner, and Traill. Special Works. McCarthy's History of Our Own Times; Bright's History of England, vols. 4-5; Lee's Queen Victoria; Bryce's Studies in Contemporary Biography.

Literature. General Works. Garnett and Gosse, Taine. Special Works. Harrison's Early Victorian Literature; Saintsbury's A History of Nineteenth Century Literature; Walker's The Age of Tennyson; same author's The Greater Victorian Poets; Morley's Literature of the Age of Victoria; Stedman's Victorian Poets; Mrs. Oliphant's Literary History of England in the Nineteenth Century; Beers's English Romanticism in the Nineteenth Century; Dowden's Victorian Literature, in Transcripts⁶³³ and Studies; Brownell's Victorian Prose Masters.

Tennyson. Texts: Cabinet edition (London, 1897) is the standard. Various good editions, Globe, Cambridge Poets, etc. Selections in Athenaeum Press (Ginn and Company).

Life: Alfred Lord Tennyson, a Memoir⁶³⁴ by his son, is the standard; by Lyall (in English Men of Letters); by Horton; by Waugh. See also Anne T. Ritchie's Tennyson and His Friends; Napier's The Homes and Haunts of Tennyson; Rawnsley's Memories of the Tennysons.

Criticism: Brooke's Tennyson, his Art and his Relation to Modern Life; A. Lang's Alfred Tennyson; Van Dyke's The Poetry of Tennyson; Sneath's The Mind of Tennyson; Gwynn's A Critical Study of Tennyson's Works; Luce's Handbook to Tennyson's Works; Dixon's A Tennyson Primer; Masterman's Tennyson as a Religious Teacher; Collins's The Early Poems of Tennyson; Macallum's Tennyson's Idylls of the King and the Arthurian Story; Bradley's Commentary on In Memoriam; Bagehot's Literary Studies, vol. 2; Brightwell's Concordance; Shepherd's Bibliography.

Essays: By F. Harrison, in Tennyson, Ruskin, Mill, and Other Literary Estimates; by Stedman, in Victorian Poets; by Hutton, in Literary Essays; by Dowden, in Studies in Literature; by Gates, in Studies and Appreciations; by Forster, in Great Teachers; by Forman, in Our Living Poets. See also Myers's Science and a Future Life.

Browning. Texts: Cambridge and Globe editions, etc. Various editions of selections. (See Selections for Reading, above.)

Life: by W. Sharp (Great Writers); by Chesterton (English Men of Letters); Life and Letters, by Mrs. Sutherland Orr; by Waugh, in Westminster Biographies (Small & Maynard).

Criticism: Symons's An Introduction to the Study of Browning; same title, by Corson; Mrs. Orr's Handbook to the Works of Browning; Nettleship's Robert Browning; Brooke's The Poetry of Robert Browning; Cooke's Browning Guide Book; Revell's Browning's Criticism of Life; Berdoe's Browning's Message to his Times; Berdoe's Browning Cyclopedia.

Essays: by Hutton, Stedman, Dowden, Forster (for titles, see Tennyson, above); by Jacobs, in Literary Studies; by Chapman, in Emerson and Other Essays; by Cooke, in Poets and Problems; by Birrell, in Obiter Dicta.

Elizabeth Barrett Browning. Texts: Globe and Cambridge editions, etc.; various editions of selections. Life: by J. H. Ingram; see also Bayne's Two Great Englishmen. Kenyon's Letters of E. B. Browning.

Criticism: Essays, by Stedman, in Victorian Poets; by Benson, in Essays.

Matthew Arnold. Texts: Poems, Globe edition, etc. See Selections for Reading, above. Life: by Russell; by Saintsbury; by Paul (English Men of Letters); Letters, by Russell.

Criticism: Essays by Woodberry, in Makers⁶³⁵ of Literature; by Gates, in Three Studies in Literature; by Hutton, in Modern Guides of English Thought; by Brownell, in Victorian Prose Masters; by F. Harrison (see Tennyson, above).

Dickens. Texts: numerous good editions of novels. Life: by J. Forster; by Marzials (Great Writers); by Ward (English Men of Letters); Langton's The Childhood and Youth of Dickens.

Criticism: Gissing's Charles Dickens; Chesterton's Charles Dickens; Kitten's The Novels of Charles Dickens; Fitzgerald's The History of Pickwick. Essays: by F. Harrison (see above); by Bagehot, in Literary Studies; by Lilly, in Four English Humorists; by A. Lang, in Gadshill edition of Dickens's works.

Thackeray. Texts: numerous good editions of novels and essays. Life: by Melville; by Merivale and Marzials (Great Writers); by A. Trollope (English Men of Letters); by L. Stephen, in Dictionary of National Biography. See also Crowe's Homes and Haunts of Thackeray; Wilson's Thackeray in the United States.

Criticism: Essays, by Lilly, in Four English Humorists; by Harrison, in Studies in Early Victorian Literature; by Scudder, in Social Ideals in English Letters; by Brownell, in Victorian Prose Masters.

George Eliot. Texts: numerous editions. Life: by L. Stephen (English Men of Letters); by O. Browning (Great Writers); by her husband, J.W. Cross.

Criticism: Cooke's George Eliot, a Critical Study of her Life and Writings. Essays: by J. Jacobs, in Literary Studies; by H. James, in Partial Portraits; by Dowden, in Studies in Literature; by Hutton, Harrison, Brownell, Lilly (see above). See also Parkinson's Scenes from the George Eliot Country.

Carlyle. Texts: various editions of works. Heroes, and Sartor Resartus, in Athenaeum Press (Ginn and Company); Sartor, and Past and Present, 1 vol. (Harper); Critical and Miscellaneous Essays, 1 vol. (Appleton); Letters and Reminiscences, edited by C. E. Norton, 6 vols. (Macmillan).

Life: by Garnett (Great Writers); by Nichol (English Men of Letters); by Froude, 2 vols. (very full, but not trustworthy). See also Carlyle's Reminiscences and Correspondence, and Craig's The Making of Carlyle.

Criticism: Masson's Carlyle Personally and in his Writings. Essays: by Lowell, in My Study Windows; by Harrison, Brownell, Hutton, Lilly (see above).

Ruskin. Texts: Brantwood edition, edited by C.E. Norton; various editions of separate works. Life: by Harrison (English Men of Letters); by Collingwood, 2 vols.; see also Ruskin's Praeterita.

Criticism: Mather's Ruskin, his Life and Teaching; Cooke's Studies in Ruskin; Waldstein's The Work of John Ruskin; Hobson's John Ruskin, Social Reformer; Mrs. Meynell's John Ruskin; Sizeranne's Ruskin and the Religion of Beauty, translated from the French; White's Principles of Art; W. M. Rossetti's Ruskin, Rossetti, and Pre-Raphaelitism.

Essays: by Robertson, in Modern Humanists; by Saintsbury, in Corrected Impressions; by Brownell, Harrison, Forster (see above).

Macaulay. Texts: Complete works, edited by his sister, Lady Trevelyan (London, 1866); various editions of separate works (see Selections for Reading, above). Life: Life and Letters, by Trevelyan, 2 vols.; by Morrison (English Men of Letters).

Criticism: Essays, by Bagehot, in Literary Studies; by L. Stephen, in Hours in a Library; by Saintsbury, in Corrected Impressions; by Harrison, in Studies in Early Victorian Literature; by Matthew Arnold.

Newman. Texts: Uniform edition of important works (London, 1868-1881); Apologia (Longmans); Selections (Holt, Riverside Literature, etc.). Life: Jennings's Cardinal Newman; Button's Cardinal Newman; Early Life, by F. Newman; by Waller and Barrow, in Westminster Biographies. See also Church's The Oxford Movement; Fitzgerald's Fifty Years of Catholic Life and Progress.

Criticism: Essays, by Donaldson, in Five Great Oxford Leaders; by Church, in Occasional Papers, vol. 2; by Gates, in Three Studies in Literature; by Jacobs, in Literary Studies; by Hutton, in Modern Guides of English Thought; by Lilly, in Essays and Speeches; by Shairp, in Studies in Poetry and Philosophy. See also Button's Cardinal Newman.

Rossetti. Works, 2 vols. (London, 1901). Selections, in Golden Treasury Series. Life: by Knight (Great Writers); by Sharp; Hall Caine's Recollections of Dante Gabriel Rossetti; Gary's The Rossettis; Marillier's Rossetti; Wood's Rossetti and the Pre-Raphaelite Movement; W.M. Hunt's Pre-Raphaelitism and the Pre-Raphaelite Brotherhood.

Criticism: Tirebuck's Rossetti, his Work and Influence. Essays: by Swinburne, in Essays and Studies; by Forman, in Our Living Poets; by Pater, in Ward's English Poets; by F.W.H. Myers, in Essays Modern.

Morris. Texts: Story of the Glittering Plain, House of the Wolfings, etc. (Reeves & Turner); Early Romances, in Everyman's Library; Sigurd the Volsung, in Camelot Series; Socialistic writings (Humboldt Publishing Co.). Life: by Mackail; by Cary; by Vallance.

Criticism: Essays, by Symons, in Studies in Two Literatures; by Dawson, in Makers of Modern English; by Saintsbury, in Corrected Impressions. See also Nordby's Influence of Old Norse Literature.

Swinburne. Texts: Complete works (Chatto and Windus); Poems and Ballads (Lovell); Selections (Rivington, Belles Lettres Series, etc.). Life: Wratislaw's Algernon Charles Swinburne, a Study.

Criticism: Essays, by Forman, Saintsbury (see above); by Lowell, in My Study Windows; see also Stedman's Victorian Poets.

Charles Keade. Texts: Cloister and the Hearth, in Everyman's Library; various editions of separate novels. Life: by C. Reade.

Criticism: Essay, by Swinburne, in Miscellanies.

Anthony Trollope. Texts: Royal edition of principal novels (Philadelphia, 1900); Barchester Towers, etc., in Everyman's Library. Life: Autobiography (Harper, 1883).

Criticism: H.T. Peck's Introduction to Royal edition, vol. 1. Essays: by H. James, in Partial Portraits; by Harrison, in Early Victorian Literature. See also Cross, The Development of the English Novel.

Charlotte and Emily Bront?. Texts: Works, Haworth edition, edited by Mrs. H. Ward (Harper); Complete works (Dent, 1893); Jane Eyre, Shirley, and Wuthering Heights, in Everyman's Library. Life of Charlotte Bront?: by Mrs. Gaskell; by Shorter; by Birrell (Great Writers). Life of Emily Bront?: by Robinson. See also Leyland's The Bront? Family.

Criticism: Essays, by L. Stephen, in Hours in a Library; by Gates, in Studies and Appreciations; by Harrison, in Early Victorian Literature; by G.B. Smith, in Poets and Novelists. See also Swinburne's A Note on Charlotte Bront?.

Bulwer-Lytton. Texts: Works, Knebsworth edition (Routledge); various editions of separate works; Last Days of Pompeii, etc., in Everyman's Library. Life: by his son, the Earl of Lytton; by Cooper; by Ten Brink⁶³⁶.

Criticism: Essay, by W. Senior, in Essays in Fiction.

Mrs. Gaskell. Various editions of separate works; Cranford, in Standard English Classics, etc. Life: see Dictionary of National Biography. Criticism: see Saintsbury's Nineteenth-Century Literature.

Kingsley. Texts: Works, Chester edition; Hypatia, Westward Ho! etc., in Everyman's Library. Life: Letters and Memories, by his wife; by Kaufmann.

Criticism: Essays, by Harrison, in Early Victorian Literature; by L. Stephen, in Hours in a Library.

Stevenson. Texts: Works (Scribner); Treasure Island, in Everyman's Library; Master of Ballantrae, in Pocket Classics; Letters, edited by Colvin (Scribner). Life: by Balfour; by Baildon; by Black; by Cornford. See also Simpson's Edinburgh Days; Eraser's In Stevenson's Samoa; Osborne and Strong's Memories of Vailima.

Criticism: Raleigh's Stevenson; Alice Brown's Stevenson. Essays: by H. James, in Partial Portraits; by Chapman, in Emerson and Other Essays.

Hardy. Texts: Works (Harper). Criticism: Macdonnell's Thomas Hardy; Johnson's The Art of Thomas Hardy. See also Windle's The Wessex of Thomas Hardy; and Dawson's Makers of English Fiction.

George Meredith. Texts: Novels and Selected Poems (Scribner).

Criticism: Le Gallienne's George Meredith; Hannah Lynch's George Meredith. Essays: by Henley, in Views and Reviews; by Brownell, in Victorian Prose Masters; by Monkhouse, in Books and Plays. See also Bailey's The Novels of George Meredith; Curie's Aspects of George Meredith; and Cross's The Development of the English Novel.

Suggestive Questions. (NOTE. The best questions are those which are based upon the books, essays, and poems read by the pupil. As the works chosen for special study vary greatly with different teachers and classes, we insert here only a few questions of general interest.) 1. What are the chief characteristics of Victorian literature? Name the chief writers of the period in prose and poetry. What books of this period are, in your judgment, worthy to be placed among the great works of literature? What effect did the discoveries of science have upon the literature of the age? What poet reflects the new conception of law and evolution? What historical conditions account for the fact that most of the Victorian writers are ethical teachers?

2. Tennyson. Give a brief sketch of Tennyson's life, and name his chief works. Why is he, like Chaucer, a national poet? Is your pleasure in reading Tennyson due chiefly to the thought or the melody of expression? Note this figure in "The Lotos Eaters":

    Music that gentlier on the spirit lies
    Than tired eyelids⁶³⁷ upon tired eyes.

What does this suggest concerning Tennyson's figures of speech in general? Compare "Locksley Hall" with "Locksley Hall Sixty Years After." What differences do you find in thought, in workmanship, and in poetic enthusiasm? What is Tennyson's idea of faith and immortality as expressed in In Memoriam?

3. Browning. In what respects is Browning like Shakespeare? What is meant by the optimism of his poetry? Can you explain why many thoughtful persons prefer him to Tennyson? What is Browning's creed as expressed in "Rabbi Ben Ezra"? Read "Fra Lippo Lippi" or "Andrea del Sarto," and tell what is meant by a dramatic monologue. In "Andrea" what is meant by the lines,

    Ah, but a man's reach should exceed his grasp,
    Or what's a heaven for?

4. Dickens. What experiences in Dickens's life are reflected in his novels? What are his favorite types of character? What is meant by the exaggeration of Dickens? What was the serious purpose of his novels? Make a brief analysis of the Tale of Two Cities, having in mind the plot, the characters, and the style, as compared with Dickens's other novels.

5. Thackeray. Read Henry Esmond and explain Thackeray's realism. What is there remarkable in the style of this novel? Compare it with Ivanhoe as a historical novel. What is the general character of Thackeray's satire? What are the chief characteristics of his novels? Describe briefly⁵⁶⁹ the works which show his great skill as a critical writer.

6. George Eliot. Read Silas Marner and make a brief analysis, having in mind the plot, the characters, the style, and the ethical teaching of the novel. Is the moral teaching of George Eliot convincing; that is, does it suggest itself from the story, or is it added for effect? What is the general impression left by her books? How do her characters compare with those of Dickens and Thackeray?

7. Carlyle. Why is Carlyle called a prophet, and why a censor? Read the Essay on Burns and make an analysis, having in mind the style, the idea of criticism, and the picture which this essay presents of the Scotch poet. Is Carlyle chiefly interested in Burns or in his poetry? Does he show any marked appreciation of Burns's power as a lyric poet? What is Carlyle's idea of history as shown in Heroes and Hero Worship? What experiences of his own life are reflected in Sartor Resartus? What was Carlyle's message to his age? What is meant by a "Carlylese" style?

8. Macaulay. In what respects is Macaulay typical of his age? Compare his view of life with that of Carlyle. Read one of the essays, on Milton or Addison, and make an analysis, having in mind the style, the interest, and the accuracy of the essay. What useful purpose does Macaulay's historical knowledge serve in writing his literary essays? What is the general character of Macaulay's History of England? Rqad a chapter from Macaulay's History, another from Carlyle's French Revolution, and compare the two. How does each writer regard history and historical writing? What differences do you note in their methods? What are the best qualities of each work? Why are both unreliable?

9. Arnold. What elements of Victorian life are reflected in Arnold's poetry? How do you account for the coldness and sadness of his verses? Read Sohrab and Rustum and write an account of it, having in mind the story, Arnold's use of his material, the style, and the classic elements in the poem. How does it compare in melody with the blank verse of Milton or Tennyson? What marked contrasts do you find between the poetry and the prose of Arnold?

10. Ruskin. In what respects is Ruskin "the prophet of modern society"? Read the first two lectures in Sesame and Lilies and then give Ruskin's views of labor, wealth, books, education, woman's sphere, and human society. How does he regard the commercialism of his age? What elements of style do you find in these lectures? Give the chief resemblances and differences between Carlyle and Ruskin.

11. Read Mrs. Gaskell's Cranford and describe it, having in mind the style, the interest, and the characters of the story. How does it compare, as a picture of country life, with George Eliot's novels?

12. Read Blackmore's Lorna Doone and describe it (as in the question above). What are the romantic elements in the story? How does it compare with Scott's romances in style, in plot, in interest, and in truthfulness⁶³⁸ to life?
CHRONOLOGY
Nineteenth Century
HISTORY     LITERATURE
        1825.     Macaulay's Essay on Milton
        1826.     Mrs. Browning's early poems
1830.     William IV     1830.     Tennyson's Poems, Chiefly Lyrical
1832.     Reform Bill
        1833.     Browning's Pauline
        1833-1834.     Carlyle's Sartor Resartus
        1836-1865.     Dickens's novels
1837.     Victoria (d. 1901)     1837.     Carlyle's French Revolution
        1843.     Macaulay's essays
1844.     Morse's Telegraph     1843-1860.     Ruskin's Modern Painters
1846.     Repeal⁶³⁹ of Corn Laws
        1847-1859.     Thackeray's important novels
        1847-1857.     Charlotte Bront?'s novels
        1848-1861.     Macaulay's History
        1853.     Kingsley's Hypatia
            Mrs. Gaskell's Cranford
1854.     Crimean War
        1853-1855.     Matthew Arnold's poems
        1856.     Mrs. Browning's Aurora Leigh
1857.     Indian Mutiny
        1858-1876.     George Eliot's novels
        1859-1888.     Tennyson's Idylls of the King
        1859.     Darwin's Origin of Species
        1864.     Newman's Apologia
            Tennyson's Enoch Arden
        1865-1888.     Arnold's Essays in Criticism
1867.     Dominion⁶⁴⁰ of Canada
    established     1868.     Browning's Ring and the Book
        1869.     Blackmore's Lorna Doone
1870.     Government schools
    established
        1879.     Meredith's The Egoist
1880.     Gladstone prime minister
        1883.     Stevenson's Treasure Island
        1885.     Ruskin's Praeterita begun
1887.     Queen's jubilee⁶⁴¹
        1889.     Browning's last work, Asolando
        1892.     Death of Tennyson
1901.     Edward VII

The End

1 pro   

n.赞成，赞成的意见，赞成者

参考例句：

• The two debating teams argued the question pro and con.辩论的两组从赞成与反对两方面辩这一问题。
• Are you pro or con nuclear disarmament?你是赞成还是反对核裁军？

2 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。

3 curbing   

n.边石，边石的材料v.限制，克制，抑制( curb的现在分词 )

参考例句：

• Progress has been made in curbing inflation. 在控制通货膨胀方面已取得了进展。
• A range of policies have been introduced aimed at curbing inflation. 为了抑制通货膨胀实施了一系列的政策。

4 disciple   

n.信徒，门徒，追随者

参考例句：

• Your disciple failed to welcome you.你的徒弟没能迎接你。
• He was an ardent disciple of Gandhi.他是甘地的忠实信徒。

5 disciples   

n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一

参考例句：

• Judas was one of the twelve disciples of Jesus. 犹大是耶稣十二门徒之一。 来自《简明英汉词典》
• "The names of the first two disciples were --" “最初的两个门徒的名字是——” 来自英汉文学 - 汤姆历险

6 destined   

adj.命中注定的；(for)以…为目的地的

参考例句：

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

7 simultaneously   

adv.同时发生地，同时进行地

参考例句：

• The radar beam can track a number of targets almost simultaneously.雷达波几乎可以同时追着多个目标。
• The Windows allow a computer user to execute multiple programs simultaneously.Windows允许计算机用户同时运行多个程序。

8 originality   

n.创造力，独创性；新颖

参考例句：

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

9 hack   

n.劈，砍，出租马车；v.劈，砍，干咳

参考例句：

• He made a hack at the log.他朝圆木上砍了一下。
• Early settlers had to hack out a clearing in the forest where they could grow crops.早期移民不得不在森林里劈出空地种庄稼。

10 vestige   

n.痕迹，遗迹，残余

参考例句：

• Some upright stones in wild places are the vestige of ancient religions.荒原上一些直立的石块是古老宗教的遗迹。
• Every vestige has been swept away.一切痕迹都被一扫而光。

11 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。

12 tolerance   

n.宽容；容忍，忍受；耐药力；公差

参考例句：

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

13 brotherhood   

n.兄弟般的关系，手中情谊

参考例句：

• They broke up the brotherhood.他们断绝了兄弟关系。
• They live and work together in complete equality and brotherhood.他们完全平等和兄弟般地在一起生活和工作。

14 unwilling   

adj.不情愿的

参考例句：

• The natives were unwilling to be bent by colonial power.土著居民不愿受殖民势力的摆布。
• His tightfisted employer was unwilling to give him a raise.他那吝啬的雇主不肯给他加薪。

15 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。

16 ward   

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

参考例句：

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

17 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。

18 insular   

adj.岛屿的，心胸狭窄的

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。
• Having lived in one place all his life,his views are insular.他一辈子住在一个地方，所以思想狭隘。

19 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。

20 federation   

n.同盟，联邦，联合，联盟，联合会

参考例句：

• It is a federation of 10 regional unions.它是由十个地方工会结合成的联合会。
• Mr.Putin was inaugurated as the President of the Russian Federation.普京正式就任俄罗斯联邦总统。

21 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。

22 looms   

n.织布机( loom的名词复数 )v.隐约出现，阴森地逼近( loom的第三人称单数 )；隐约出现，阴森地逼近

参考例句：

• All were busily engaged,men at their ploughs,women at their looms. 大家都很忙，男的耕田，女的织布。 来自《简明英汉词典》
• The factory has twenty-five looms. 那家工厂有25台织布机。 来自《简明英汉词典》

23 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。

24 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。

25 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。

26 throng   

n.人群，群众；v.拥挤，群集

参考例句：

• A patient throng was waiting in silence.一大群耐心的人在静静地等着。
• The crowds thronged into the mall.人群涌进大厅。

27 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。

28 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

29 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。

30 genealogy   

n.家系，宗谱

参考例句：

• He had sat and repeated his family's genealogy to her,twenty minutes of nonstop names.他坐下又给她细数了一遍他家族的家谱，20分钟内说出了一连串的名字。
• He was proficient in all questions of genealogy.他非常精通所有家谱的问题。

31 veins   

n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理

参考例句：

• The blood flows from the capillaries back into the veins. 血从毛细血管流回静脉。 来自《简明英汉词典》
• I felt a pleasant glow in all my veins from the wine. 喝过酒后我浑身的血都热烘烘的，感到很舒服。 来自《简明英汉词典》

32 vein   

n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络

参考例句：

• The girl is not in the vein for singing today.那女孩今天没有心情唱歌。
• The doctor injects glucose into the patient's vein.医生把葡萄糖注射入病人的静脉。

33 conqueror   

n.征服者，胜利者

参考例句：

• We shall never yield to a conqueror.我们永远不会向征服者低头。
• They abandoned the city to the conqueror.他们把那个城市丢弃给征服者。

34 symbolic   

adj.象征性的，符号的，象征主义的

参考例句：

• It is symbolic of the fighting spirit of modern womanhood.它象征着现代妇女的战斗精神。
• The Christian ceremony of baptism is a symbolic act.基督教的洗礼仪式是一种象征性的做法。

35 refinement   

n.文雅；高尚；精美；精制；精炼

参考例句：

• Sally is a woman of great refinement and beauty. 莎莉是个温文尔雅又很漂亮的女士。
• Good manners and correct speech are marks of refinement.彬彬有礼和谈吐得体是文雅的标志。

36 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。

37 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。

38 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。

39 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。

40 vaguely   

adv.含糊地，暖昧地

参考例句：

• He had talked vaguely of going to work abroad.他含糊其词地说了到国外工作的事。
• He looked vaguely before him with unseeing eyes.他迷迷糊糊的望着前面，对一切都视而不见。

41 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。

42 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。

43 pessimism   

n.悲观者，悲观主义者，厌世者

参考例句：

• He displayed his usual pessimism.他流露出惯有的悲观。
• There is the note of pessimism in his writings.他的著作带有悲观色彩。

44 formulated   

v.构想出( formulate的过去式和过去分词 )；规划；确切地阐述；用公式表示

参考例句：

• He claims that the writer never consciously formulated his own theoretical position. 他声称该作家从未有意识地阐明他自己的理论见解。 来自《简明英汉词典》
• This idea can be formulated in two different ways. 这个意思可以有两种说法。 来自《现代汉英综合大词典》

45 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。

46 prosaic   

adj.单调的，无趣的

参考例句：

• The truth is more prosaic.真相更加乏味。
• It was a prosaic description of the scene.这是对场景没有想象力的一个描述。

47 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。

48 buttresses   

n.扶壁，扶垛( buttress的名词复数 )v.用扶壁支撑，加固( buttress的第三人称单数 )

参考例句：

• Flying buttresses were constructed of vertical masonry piers with arches curving out from them like fingers. 飞梁结构，灵感来自于带拱形的垂直石质桥墩，外形像弯曲的手指。 来自互联网
• GOTHIC_BUTTRESSES_DESC;Gothic construction, particularly in its later phase, is characterized by lightness and soaring spaces. 哥特式建筑，尤其是其发展的后期，以轻灵和高耸的尖顶为标志。 来自互联网

49 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。

50 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。

51 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。

52 courageous   

adj.勇敢的，有胆量的

参考例句：

• We all honour courageous people.我们都尊重勇敢的人。
• He was roused to action by courageous words.豪言壮语促使他奋起行动。

53 varied   

adj.多样的，多变化的

参考例句：

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

54 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。

55 materialism   

n.［哲］唯物主义，唯物论；物质至上

参考例句：

• Idealism is opposite to materialism.唯心论和唯物论是对立的。
• Crass materialism causes people to forget spiritual values.极端唯物主义使人忘掉精神价值。

56 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。

57 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。

58 haven   

n.安全的地方，避难所，庇护所

参考例句：

• It's a real haven at the end of a busy working day.忙碌了一整天后，这真是一个安乐窝。
• The school library is a little haven of peace and quiet.学校的图书馆是一个和平且安静的小避风港。

59 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。

60 margin   

n.页边空白；差额；余地，余裕；边，边缘

参考例句：

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

61 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。

62 majesty   

n.雄伟，壮丽，庄严，威严；最高权威，王权

参考例句：

• The king had unspeakable majesty.国王有无法形容的威严。
• Your Majesty must make up your mind quickly!尊贵的陛下，您必须赶快做出决定！

63 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。

64 narrative   

n.叙述，故事；adj.叙事的，故事体的

参考例句：

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

65 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。

66 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。

67 sociable   

adj.好交际的，友好的，合群的

参考例句：

• Roger is a very sociable person.罗杰是个非常好交际的人。
• Some children have more sociable personalities than others.有些孩子比其他孩子更善于交际。

68 bustle   

v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹

参考例句：

• The bustle and din gradually faded to silence as night advanced.随着夜越来越深，喧闹声逐渐沉寂。
• There is a lot of hustle and bustle in the railway station.火车站里非常拥挤。

69 bust   

vt.打破；vi.爆裂；n.半身像；胸部

参考例句：

• I dropped my camera on the pavement and bust it. 我把照相机掉在人行道上摔坏了。
• She has worked up a lump of clay into a bust.她把一块黏土精心制作成一个半身像。

70 poetically   

adv.有诗意地，用韵文

参考例句：

• Life is poetically compared to the morning dew. 在诗歌中，人生被比喻为朝露。 来自辞典例句
• Poetically, Midsummer's Eve begins in flowers and ends in fire. 仲夏节是富有诗意的节日，它以鲜花领航，在篝火旁完美落幕。 来自互联网

71 watts   

（电力计量单位）瓦，瓦特( watt的名词复数 )

参考例句：

• My lamp uses 60 watts; my toaster uses 600 watts. 我的灯用60瓦，我的烤面包器用600瓦。
• My lamp uses 40 watts. 我的灯40瓦。

72 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。

73 soften   

v.(使)变柔软；(使)变柔和

参考例句：

• Plastics will soften when exposed to heat.塑料适当加热就可以软化。
• This special cream will help to soften up our skin.这种特殊的护肤霜有助于使皮肤变得柔软。

74 hatred   

n.憎恶，憎恨，仇恨

参考例句：

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

75 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

76 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。

77 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。

78 vice   

n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的

参考例句：

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

79 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。

80 integument   

n.皮肤

参考例句：

• The first protector against the entry of microorganisms is the integument.抗御微生物进入体内的第一道防线是皮肤。
• The cells of the integument and nucellus of some plants form perfectly normal embryos.某些植物的珠被和珠心细胞形成完全正常的胚。

81 chancellor   

n.(英)大臣；法官；(德、奥)总理；大学校长

参考例句：

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

82 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。

83 insurgents   

n.起义，暴动，造反( insurgent的名词复数 )

参考例句：

• The regular troops of Baden joined the insurgents. 巴登的正规军参加到起义军方面来了。 来自《简明英汉词典》
• Against the Taliban and Iraqi insurgents, these problems are manageable. 要对付塔利班与伊拉克叛乱分子，这些问题还是可以把握住的。 来自互联网

84 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。

85 agitating   

搅动( agitate的现在分词 )； 激怒； 使焦虑不安； （尤指为法律、社会状况的改变而）激烈争论

参考例句：

• political groups agitating for social change 鼓吹社会变革的政治团体
• They are agitating to assert autonomy. 他们正在鼓吹实行自治。

86 brutally   

adv.残忍地，野蛮地，冷酷无情地

参考例句：

• The uprising was brutally put down.起义被残酷地镇压下去了。
• A pro-democracy uprising was brutally suppressed.一场争取民主的起义被残酷镇压了。

87 condemned   

adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词

参考例句：

• He condemned the hypocrisy of those politicians who do one thing and say another. 他谴责了那些说一套做一套的政客的虚伪。
• The policy has been condemned as a regressive step. 这项政策被认为是一种倒退而受到谴责。

88 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。

89 plunged   

v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降

参考例句：

• The train derailed and plunged into the river. 火车脱轨栽进了河里。
• She lost her balance and plunged 100 feet to her death. 她没有站稳，从100英尺的高处跌下摔死了。

90 elegy   

n.哀歌，挽歌

参考例句：

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

91 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！

92 hesitation   

n.犹豫，踌躇

参考例句：

• After a long hesitation, he told the truth at last.踌躇了半天，他终于直说了。
• There was a certain hesitation in her manner.她的态度有些犹豫不决。

93 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。

94 vented   

表达，发泄（感情，尤指愤怒）( vent的过去式和过去分词 )

参考例句：

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

95 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。

96 interval   

n.间隔，间距；幕间休息，中场休息

参考例句：

• The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
• There was a long interval before he anwsered the telephone.隔了好久他才回了电话。

97 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。

98 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。

99 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。

100 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。

101 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。

102 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。

103 marvel   

vi.(at)惊叹vt.感到惊异；n.令人惊异的事

参考例句：

• The robot is a marvel of modern engineering.机器人是现代工程技术的奇迹。
• The operation was a marvel of medical skill.这次手术是医术上的一个奇迹。

104 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！

105 dirge   

n.哀乐，挽歌，庄重悲哀的乐曲

参考例句：

• She threw down her basket and intoned a peasant dirge.她撂下菜篮，唱起庄稼人的哀歌。
• The stranger,after listening for a moment,joined in the mournful dirge.听了一会儿后这个陌生人也跟著唱起了悲哀的挽歌。

106 foam   

v./n.泡沫，起泡沫

参考例句：

• The glass of beer was mostly foam.这杯啤酒大部分是泡沫。
• The surface of the water is full of foam.水面都是泡沫。

107 boundless   

adj.无限的；无边无际的；巨大的

参考例句：

• The boundless woods were sleeping in the deep repose of nature.无边无际的森林在大自然静寂的怀抱中酣睡着。
• His gratitude and devotion to the Party was boundless.他对党无限感激、无限忠诚。

108 twilight   

n.暮光，黄昏；暮年，晚期，衰落时期

参考例句：

• Twilight merged into darkness.夕阳的光辉融于黑暗中。
• Twilight was sweet with the smell of lilac and freshly turned earth.薄暮充满紫丁香和新翻耕的泥土的香味。

109 embark   

vi.乘船，着手，从事，上飞机

参考例句：

• He is about to embark on a new business venture.他就要开始新的商业冒险活动。
• Many people embark for Europe at New York harbor.许多人在纽约港乘船去欧洲。

110 enjoyment   

n.乐趣；享有；享用

参考例句：

• Your company adds to the enjoyment of our visit. 有您的陪同，我们这次访问更加愉快了。
• After each joke the old man cackled his enjoyment.每逢讲完一个笑话，这老人就呵呵笑着表示他的高兴。

111 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

112 playwright   

n.剧作家，编写剧本的人

参考例句：

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

113 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。

114 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。

115 bugle   

n.军号，号角，喇叭；v.吹号，吹号召集

参考例句：

• When he heard the bugle call, he caught up his gun and dashed out.他一听到军号声就抓起枪冲了出去。
• As the bugle sounded we ran to the sports ground and fell in.军号一响，我们就跑到运动场集合站队。

116 morbidness   

（精神的）病态

参考例句：

• Too much self-inspection leads to morbidness; too little conducts to careless and hasty action. 不过过度的自我检讨会成为病态，检讨不足则又导致行事粗心草率。 来自互联网

117 ecstasy   

n.狂喜，心醉神怡，入迷

参考例句：

• He listened to the music with ecstasy.他听音乐听得入了神。
• Speechless with ecstasy,the little boys gazed at the toys.小孩注视着那些玩具，高兴得说不出话来。

118 insanity   

n.疯狂，精神错乱；极端的愚蠢，荒唐

参考例句：

• In his defense he alleged temporary insanity.他伪称一时精神错乱，为自己辩解。
• He remained in his cell,and this visit only increased the belief in his insanity.他依旧还是住在他的地牢里，这次视察只是更加使人相信他是个疯子了。

119 sanity   

n.心智健全，神智正常，判断正确

参考例句：

• I doubt the sanity of such a plan.我怀疑这个计划是否明智。
• She managed to keep her sanity throughout the ordeal.在那场磨难中她始终保持神志正常。

120 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。

121 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。

122 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。

123 poignant   

adj.令人痛苦的，辛酸的，惨痛的

参考例句：

• His lyrics are as acerbic and poignant as they ever have been.他的歌词一如既往的犀利辛辣。
• It is especially poignant that he died on the day before his wedding.他在婚礼前一天去世了，这尤其令人悲恸。

124 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。

125 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。

126 consolation   

n.安慰，慰问

参考例句：

• The children were a great consolation to me at that time.那时孩子们成了我的莫大安慰。
• This news was of little consolation to us.这个消息对我们来说没有什么安慰。

127 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。

128 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。

129 undoubtedly   

adv.确实地，无疑地

参考例句：

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

130 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。

131 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。

132 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。

133 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。

134 unity   

n.团结，联合，统一；和睦，协调

参考例句：

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

135 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。

136 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。

137 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。

138 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。

139 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。

140 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。

141 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。

142 aged   

adj.年老的，陈年的

参考例句：

• He had put on weight and aged a little.他胖了，也老点了。
• He is aged,but his memory is still good.他已年老，然而记忆力还好。

143 brook   

n.小河，溪；v.忍受，容让

参考例句：

• In our room we could hear the murmur of a distant brook.在我们房间能听到远处小溪汩汩的流水声。
• The brook trickled through the valley.小溪涓涓流过峡谷。

144 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。

145 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。

146 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。

147 revere   

vt.尊崇，崇敬，敬畏

参考例句：

• Students revere the old professors.学生们十分尊敬那些老教授。
• The Chinese revered corn as a gift from heaven.中国人将谷物奉为上天的恩赐。

148 forefathers   

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

参考例句：

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

149 revered   

v.崇敬，尊崇，敬畏( revere的过去式和过去分词 )

参考例句：

• A number of institutions revered and respected in earlier times have become Aunt Sally for the present generation. 一些早年受到尊崇的惯例，现在已经成了这代人嘲弄的对象了。 来自《简明英汉词典》
• The Chinese revered corn as a gift from heaven. 中国人将谷物奉为上天的恩赐。 来自辞典例句

150 supremely   

adv.无上地，崇高地

参考例句：

• They managed it all supremely well. 这件事他们干得极其出色。
• I consider a supremely beautiful gesture. 我觉得这是非常优雅的姿态。

151 applied   

adj.应用的；v.应用，适用

参考例句：

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

152 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。

153 impersonally   

ad.非人称地

参考例句：

• "No." The answer was both reticent and impersonally sad. “不。”这回答既简短，又含有一种无以名状的悲戚。 来自名作英译部分
• The tenet is to service our clients fairly, equally, impersonally and reasonably. 公司宗旨是公正、公平、客观、合理地为客户服务。

154 eulogy   

n.颂词；颂扬

参考例句：

• He needs no eulogy from me or from any other man. 他不需要我或者任何一个人来称颂。
• Mr.Garth gave a long eulogy about their achievements in the research.加思先生对他们的研究成果大大地颂扬了一番。

155 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。

156 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。

157 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。

158 allusions   

暗指，间接提到( allusion的名词复数 )

参考例句：

• We should not use proverbs and allusions indiscriminately. 不要滥用成语典故。
• The background lent itself to allusions to European scenes. 眼前的情景容易使人联想到欧洲风光。

159 scrap   

n.碎片；废料；v.废弃，报废

参考例句：

• A man comes round regularly collecting scrap.有个男人定时来收废品。
• Sell that car for scrap.把那辆汽车当残品卖了吧。

160 motives   

n.动机，目的( motive的名词复数 )

参考例句：

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

161 delving   

v.深入探究，钻研( delve的现在分词 )

参考例句：

• He has been delving into the American literature of 20th century. 他一直在潜心研究美国20世纪文学。 来自互联网
• In some ways studying Beckett is like delving into Shakespeare's words. 在某些方面，研究Beckett的戯好像是深入研究莎士比亚的语句。 来自互联网

162 mingled   

混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系]

参考例句：

• The sounds of laughter and singing mingled in the evening air. 笑声和歌声交织在夜空中。
• The man and the woman mingled as everyone started to relax. 当大家开始放松的时候，这一男一女就开始交往了。

163 sift   

v.筛撒，纷落，详察

参考例句：

• Sift out the wheat from the chaff.把小麦的壳筛出来。
• Sift sugar on top of the cake.在蛋糕上面撒上糖。

164 dross   

n.渣滓；无用之物

参考例句：

• Caroline felt the value of the true ore,and knew the deception of the flashy dross.卡罗琳辨别出了真金的价值，知道那种炫耀的铁渣只有迷惑人的外表。
• The best players go off to the big clubs,leaving us the dross.最好的队员都投奔大俱乐部去了，就只给我们剩下些不中用的人。

165 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。

166 melodiously   

参考例句：

167 odious   

adj.可憎的，讨厌的

参考例句：

• The judge described the crime as odious.法官称这一罪行令人发指。
• His character could best be described as odious.他的人格用可憎来形容最贴切。

168 indifference   

n.不感兴趣，不关心，冷淡，不在乎

参考例句：

• I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
• He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。

169 sleet   

n.雨雪；v.下雨雪，下冰雹

参考例句：

• There was a great deal of sleet last night.昨夜雨夹雪下得真大。
• When winter comes,we get sleet and frost.冬天来到时我们这儿会有雨夹雪和霜冻。

170 stifling   

a.令人窒息的

参考例句：

• The weather is stifling. It looks like rain. 今天太闷热，光景是要下雨。
• We were stifling in that hot room with all the windows closed. 我们在那间关着窗户的热屋子里，简直透不过气来。

171 stimulating   

adj.有启发性的，能激发人思考的

参考例句：

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

172 robust   

adj.强壮的，强健的，粗野的，需要体力的，浓的

参考例句：

• She is too tall and robust.她个子太高，身体太壮。
• China wants to keep growth robust to reduce poverty and avoid job losses,AP commented.美联社评论道，中国希望保持经济强势增长，以减少贫困和失业状况。

173 invincible   

adj.不可征服的，难以制服的

参考例句：

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

174 outskirts   

n.郊外，郊区

参考例句：

• Our car broke down on the outskirts of the city.我们的汽车在市郊出了故障。
• They mostly live on the outskirts of a town.他们大多住在近郊。

175 fascination   

n.令人着迷的事物，魅力，迷恋

参考例句：

• He had a deep fascination with all forms of transport.他对所有的运输工具都很着迷。
• His letters have been a source of fascination to a wide audience.广大观众一直迷恋于他的来信。

176 schooling   

n.教育；正规学校教育

参考例句：

• A child's access to schooling varies greatly from area to area.孩子获得学校教育的机会因地区不同而大相径庭。
• Backward children need a special kind of schooling.天赋差的孩子需要特殊的教育。

177 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。

178 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。

179 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。

180 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。

181 pounced   

v.突然袭击( pounce的过去式和过去分词 )；猛扑；一眼看出；抓住机会（进行抨击）

参考例句：

• As soon as I opened my mouth, the teacher pounced on me. 我一张嘴就被老师抓住呵斥了。 来自《简明英汉词典》
• The police pounced upon the thief. 警察向小偷扑了过去。 来自《现代汉英综合大词典》

182 hawks   

鹰( hawk的名词复数 )； 鹰派人物，主战派人物

参考例句：

• Two hawks were hover ing overhead. 两只鹰在头顶盘旋。
• Both hawks and doves have expanded their conditions for ending the war. 鹰派和鸽派都充分阐明了各自的停战条件。

183 vagaries   

n.奇想( vagary的名词复数 )；异想天开；异常行为；难以预测的情况

参考例句：

• The vagaries of fortune are indeed curious.\" 命运的变化莫测真是不可思议。” 来自英汉文学 - 嘉莉妹妹
• The vagaries of inclement weather conditions are avoided to a certain extent. 可以在一定程度上避免变化莫测的恶劣气候影响。 来自辞典例句

184 invalid   

n.病人，伤残人；adj.有病的，伤残的；无效的

参考例句：

• He will visit an invalid.他将要去看望一个病人。
• A passport that is out of date is invalid.护照过期是无效的。

185 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

186 Portuguese   

n.葡萄牙人；葡萄牙语

参考例句：

• They styled their house in the Portuguese manner.他们仿照葡萄牙的风格设计自己的房子。
• Her family is Portuguese in origin.她的家族是葡萄牙血统。

187 inquisitive   

adj.求知欲强的，好奇的，好寻根究底的

参考例句：

• Children are usually inquisitive.小孩通常很好问。
• A pat answer is not going to satisfy an inquisitive audience.陈腔烂调的答案不能满足好奇的听众。

188 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。

189 blot   

vt.弄脏（用吸墨纸）吸干；n.污点，污渍

参考例句：

• That new factory is a blot on the landscape.那新建的工厂破坏了此地的景色。
• The crime he committed is a blot on his record.他犯的罪是他的履历中的一个污点。

190 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。

191 disinterested   

adj.不关心的，不感兴趣的

参考例句：

• He is impartial and disinterested.他公正无私。
• He's always on the make,I have never known him do a disinterested action.他这个人一贯都是唯利是图，我从来不知道他有什么无私的行动。

192 depicting   

描绘，描画( depict的现在分词 )； 描述

参考例句：

• a painting depicting the Virgin and Child 一幅描绘童贞马利亚和圣子耶稣的画
• The movie depicting the battles and bloodshed is bound to strike home. 这部描写战斗和流血牺牲的影片一定会取得预期效果。

193 inevitably   

adv.不可避免地；必然发生地

参考例句：

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

194 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。

195 advent   

n.(重要事件等的)到来，来临

参考例句：

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

196 versatility   

n.多才多艺，多样性，多功能

参考例句：

• Versatility is another of your strong points,but don't overdo it by having too many irons in the fire.你还有一个长处是多才多艺，但不要揽事太多而太露锋芒。
• This versatility comes from a dual weather influence.这种多样性是由于双重的气候影响而形成的。

197 likeness   

n.相像，相似（之处）

参考例句：

• I think the painter has produced a very true likeness.我认为这位画家画得非常逼真。
• She treasured the painted likeness of her son.她珍藏她儿子的画像。

198 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。

199 virtues   

美德( virtue的名词复数 )； 德行； 优点； 长处

参考例句：

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

200 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。

201 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。

202 industrious   

adj.勤劳的，刻苦的，奋发的

参考例句：

• If the tiller is industrious,the farmland is productive.人勤地不懒。
• She was an industrious and willing worker.她是个勤劳肯干的员工。

203 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。

204 rambles   

（无目的地）漫游( ramble的第三人称单数 )； （喻）漫谈； 扯淡； 长篇大论

参考例句：

• He rambles in his talk. 他谈话时漫无中心。
• You will have such nice rambles on the moors. 你可以在旷野里好好地溜达溜达。

205 tiresomely   

adj. 令人厌倦的，讨厌的

参考例句：

• The excitement over her arrival was tiresomely predictable –like flashing a shiny object at a child. 她的到来会使人们兴奋，这是稍微可以预见的——就像在一个孩子面前放一个闪闪发光的东西。
• British chancellors tiresomely wont to lecture finance ministers in mainland Europe about their superior policies. 英国的财政大臣也常常向欧洲大陆的财政部长们演讲他们的优越政策。

206 hampers   

妨碍，束缚，限制( hamper的第三人称单数 )

参考例句：

• Prejudice sometimes hampers a person from doing the right thing. 有时候，偏见会妨碍人正确行事。
• This behavior is the opposite of modeless feedback, and it hampers flow. 这个行为有悖于非模态的反馈，它阻碍了流。 来自About Face 3交互设计精髓

207 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。

208 coffin   

n.棺材，灵柩

参考例句：

• When one's coffin is covered,all discussion about him can be settled.盖棺论定。
• The coffin was placed in the grave.那口棺材已安放到坟墓里去了。

209 jumble   

vt.使混乱，混杂；n.混乱；杂乱的一堆

参考例句：

• Even the furniture remained the same jumble that it had always been.甚至家具还是象过去一样杂乱无章。
• The things in the drawer were all in a jumble.抽屉里的东西很杂乱。

210 bishop   

n.主教，（国际象棋）象

参考例句：

• He was a bishop who was held in reverence by all.他是一位被大家都尊敬的主教。
• Two years after his death the bishop was canonised.主教逝世两年后被正式封为圣者。

211 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。

212 mare   

n.母马，母驴

参考例句：

• The mare has just thrown a foal in the stable.那匹母马刚刚在马厩里产下了一只小马驹。
• The mare foundered under the heavy load and collapsed in the road.那母马因负载过重而倒在路上。

213 rein   

n.疆绳，统治，支配；vt.以僵绳控制，统治

参考例句：

• The horse answered to the slightest pull on the rein.只要缰绳轻轻一拉,马就作出反应。
• He never drew rein for a moment till he reached the river.他一刻不停地一直跑到河边。

214 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。

215 weaver   

n.织布工；编织者

参考例句：

• She was a fast weaver and the cloth was very good.她织布织得很快，而且布的质量很好。
• The eager weaver did not notice my confusion.热心的纺织工人没有注意到我的狼狈相。

216 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。

217 alloy   

n.合金，(金属的)成色

参考例句：

• The company produces titanium alloy.该公司生产钛合金。
• Bronze is an alloy of copper and tin.青铜是铜和锡的合金。

218 monologue   

n.长篇大论，（戏剧等中的）独白

参考例句：

• The comedian gave a long monologue of jokes.喜剧演员讲了一长段由笑话组成的独白。
• He went into a long monologue.他一个人滔滔不绝地讲话。

219 monologues   

n.（戏剧）长篇独白( monologue的名词复数 )；滔滔不绝的讲话；独角戏

参考例句：

• That film combines real testimonials with monologues read by actors. 电影中既有真人讲的真事，也有演员的独白。 来自互联网
• Her monologues may help her make sense of her day. 她的独白可以帮助她让她一天的感觉。 来自互联网

220 recital   

n.朗诵，独奏会，独唱会

参考例句：

• She is going to give a piano recital.她即将举行钢琴独奏会。
• I had their total attention during the thirty-five minutes that my recital took.在我叙述的35分钟内，他们完全被我吸引了。

221 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。

222 abject   

adj.极可怜的，卑屈的

参考例句：

• This policy has turned out to be an abject failure.这一政策最后以惨败而告终。
• He had been obliged to offer an abject apology to Mr.Alleyne for his impertinence.他不得不低声下气，为他的无礼举动向艾莱恩先生请罪。

223 comely   

adj.漂亮的，合宜的

参考例句：

• His wife is a comely young woman.他的妻子是一个美丽的少妇。
• A nervous,comely-dressed little girl stepped out.一个紧张不安、衣着漂亮的小姑娘站了出来。

224 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。

225 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。

226 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。

227 radically   

ad.根本地，本质地

参考例句：

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

228 piers   

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

参考例句：

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

229 seraphim   

n.六翼天使(seraph的复数)；六翼天使( seraph的名词复数 )

参考例句：

• The Seraphim were first discovered during a deep space exploration mission. 最初的天使时发现一深空探测任务。 来自互联网
• The home seraphim: preservation and advancement of the home. 家园炽天使：保存家园，为家园兴旺与进步努力。 来自互联网

230 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。

231 frail   

adj.身体虚弱的；易损坏的

参考例句：

• Mrs. Warner is already 96 and too frail to live by herself.华纳太太已经九十六岁了，身体虚弱，不便独居。
• She lay in bed looking particularly frail.她躺在床上，看上去特别虚弱。

232 innate   

adj.天生的，固有的，天赋的

参考例句：

• You obviously have an innate talent for music.你显然有天生的音乐才能。
• Correct ideas are not innate in the mind.人的正确思想不是自己头脑中固有的。

233 impulsive   

adj.冲动的，刺激的；有推动力的

参考例句：

• She is impulsive in her actions.她的行为常出于冲动。
• He was neither an impulsive nor an emotional man,but a very honest and sincere one.他不是个一冲动就鲁莽行事的人，也不多愁善感.他为人十分正直、诚恳。

234 afterward   

adv.后来；以后

参考例句：

• Let's go to the theatre first and eat afterward. 让我们先去看戏，然后吃饭。
• Afterward,the boy became a very famous artist.后来，这男孩成为一个很有名的艺术家。

235 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。

236 aspirations   

强烈的愿望( aspiration的名词复数 )； 志向； 发送气音； 发 h 音

参考例句：

• I didn't realize you had political aspirations. 我没有意识到你有政治上的抱负。
• The new treaty embodies the aspirations of most nonaligned countries. 新条约体现了大多数不结盟国家的愿望。

237 aurora   

n.极光

参考例句：

• The aurora is one of nature's most awesome spectacles.极光是自然界最可畏的奇观之一。
• Over the polar regions we should see aurora.在极地高空,我们会看到极光。

238 persistent   

adj.坚持不懈的，执意的；持续的

参考例句：

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

239 exhumed   

v.挖出，发掘出( exhume的过去式和过去分词 )

参考例句：

• Marie Curie's remains were exhumed and interred in the Pantheon. 玛丽·居里的遗体被移出葬在先贤祠中。 来自《简明英汉词典》
• His remains have been exhumed from a cemetery in Queens, New York City. 他的遗体被从纽约市皇后区的墓地里挖了出来。 来自辞典例句

240 superstition   

n.迷信，迷信行为

参考例句：

• It's a common superstition that black cats are unlucky.认为黑猫不吉祥是一种很普遍的迷信。
• Superstition results from ignorance.迷信产生于无知。

241 pictorial   

adj.绘画的；图片的；n．画报

参考例句：

• The had insisted on a full pictorial coverage of the event.他们坚持要对那一事件做详尽的图片报道。
• China Pictorial usually sells out soon after it hits the stands.《人民画报》往往一到报摊就销售一空。

242 Founder   

n.创始者，缔造者

参考例句：

• He was extolled as the founder of their Florentine school.他被称颂为佛罗伦萨画派的鼻祖。
• According to the old tradition,Romulus was the founder of Rome.按照古老的传说，罗穆卢斯是古罗马的建国者。

243 gratitude   

adj.感激，感谢

参考例句：

• I have expressed the depth of my gratitude to him.我向他表示了深切的谢意。
• She could not help her tears of gratitude rolling down her face.她感激的泪珠禁不住沿着面颊流了下来。

244 wrecked   

adj.失事的，遇难的

参考例句：

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

245 fabled   

adj.寓言中的，虚构的

参考例句：

• For the first week he never actually saw the fabled Jack. 第一周他实际上从没见到传说中的杰克。
• Aphrodite, the Greek goddness of love, is fabled to have been born of the foam of the sea. 希腊爱神阿美罗狄蒂据说是诞生于海浪泡沫之中。 来自《现代汉英综合大词典》

246 sagas   

n.萨迦（尤指古代挪威或冰岛讲述冒险经历和英雄业绩的长篇故事）( saga的名词复数 )；（讲述许多年间发生的事情的）长篇故事；一连串的事件（或经历）；一连串经历的讲述（或记述）

参考例句：

• Artwork depicted the historical sagas and biblical tales for the illiterate faithful. 墙上的插图为不识字的信徒描绘了历史传说和圣经故事。 来自互联网
• It will complete one of the most remarkable transfer sagas in English football. 到时候，英格兰史上最有名的转会传奇故事之一将落下帷幕。 来自互联网

247 chronologically   

ad. 按年代的

参考例句：

• Manuscripts show cases arranged topically not chronologically. 从原稿看案例是按专题安排的而不是按年代次序安排的。
• Though the exhibition has been arranged chronologically, there are a few exceptions. 虽然展览的时间便已经安排好了，但是也有少数的例外。

248 royalty   

n.皇家，皇族

参考例句：

• She claims to be descended from royalty.她声称她是皇室后裔。
• I waited on tables，and even catered to royalty at the Royal Albert Hall.我做过服务生， 甚至在皇家阿伯特大厅侍奉过皇室的人。

249 reverent   

adj.恭敬的，虔诚的

参考例句：

• He gave reverent attention to the teacher.他恭敬地听老师讲课。
• She said the word artist with a gentle,understanding,reverent smile.她说作家一词时面带高雅，理解和虔诚的微笑。

250 hymns   

n.赞美诗，圣歌，颂歌( hymn的名词复数 )

参考例句：

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

251 vitality   

n.活力，生命力，效力

参考例句：

• He came back from his holiday bursting with vitality and good health.他度假归来之后，身强体壮，充满活力。
• He is an ambitious young man full of enthusiasm and vitality.他是个充满热情与活力的有远大抱负的青年。

252 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。

253 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。

254 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

255 guise   

n.外表，伪装的姿态

参考例句：

• They got into the school in the guise of inspectors.他们假装成视察员进了学校。
• The thief came into the house under the guise of a repairman.那小偷扮成个修理匠进了屋子。

256 wield   

vt.行使，运用，支配；挥，使用(武器等)

参考例句：

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

257 grandiloquent   

adj.夸张的

参考例句：

• He preferred,in his grandiloquent way,to call a spade a spade.他喜欢夸夸其谈地谈出事实的真相来。
• He was a performer who loved making grandiloquent gesture.他是一个喜欢打夸张手势的演员。

258 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

259 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》

260 ferocious   

adj.凶猛的，残暴的，极度的，十分强烈的

参考例句：

• The ferocious winds seemed about to tear the ship to pieces.狂风仿佛要把船撕成碎片似的。
• The ferocious panther is chasing a rabbit.那只凶猛的豹子正追赶一只兔子。

261 legacy   

n.遗产，遗赠；先人(或过去)留下的东西

参考例句：

• They are the most precious cultural legacy our forefathers left.它们是我们祖先留下来的最宝贵的文化遗产。
• He thinks the legacy is a gift from the Gods.他认为这笔遗产是天赐之物。

262 acting   

n.演戏，行为，假装；adj.代理的，临时的，演出用的

参考例句：

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

263 animated   

adj.生气勃勃的，活跃的，愉快的

参考例句：

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

264 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。

265 sketch   

n.草图；梗概；素描；v.素描；概述

参考例句：

• My sister often goes into the country to sketch. 我姐姐常到乡间去写生。
• I will send you a slight sketch of the house.我将给你寄去房屋的草图。

266 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》

267 serial   

n.连本影片，连本电视节目；adj.连续的

参考例句：

• A new serial is starting on television tonight.今晚电视开播一部新的电视连续剧。
• Can you account for the serial failures in our experiment?你能解释我们实验屡屡失败的原因吗？

268 serially   

adv.连续地，连续刊载地

参考例句：

• A method of device interconnection for determining interruptpriority by connecting the interrupt sources serially. 设备互连的一种方式，通过与中断源串连的顺序确定设备的中断优先级。 来自辞典例句
• BATCH PROCESSING:Execution of programs serially with no interactive processing. 批处理：程序执行是连续的，无交互式处理。 来自互联网

269 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。

270 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。

271 sentimental   

adj.多愁善感的，感伤的

参考例句：

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

272 thronged   

v.成群，挤满( throng的过去式和过去分词 )

参考例句：

• Mourners thronged to the funeral. 吊唁者蜂拥着前来参加葬礼。 来自《简明英汉词典》
• The department store was thronged with people. 百货商店挤满了人。 来自《现代英汉综合大词典》

273 ovation   

n.欢呼，热烈欢迎，热烈鼓掌

参考例句：

• The hero received a great ovation from the crowd. 那位英雄受到人群的热烈欢迎。
• The show won a standing ovation. 这场演出赢得全场起立鼓掌。

274 relaxation   

n.松弛，放松；休息；消遣；娱乐

参考例句：

• The minister has consistently opposed any relaxation in the law.部长一向反对法律上的任何放宽。
• She listens to classical music for relaxation.她听古典音乐放松。

275 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。

276 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。

277 bleak   

adj.(天气)阴冷的；凄凉的；暗淡的

参考例句：

• They showed me into a bleak waiting room.他们引我来到一间阴冷的会客室。
• The company's prospects look pretty bleak.这家公司的前景异常暗淡。

278 craved   

渴望，热望( crave的过去式 )； 恳求，请求

参考例句：

• She has always craved excitement. 她总渴望刺激。
• A spicy, sharp-tasting radish was exactly what her stomach craved. 她正馋着想吃一个香甜可口的红萝卜呢。

279 craves   

渴望，热望( crave的第三人称单数 )； 恳求，请求

参考例句：

• The tree craves calm but the wind will not drop. 树欲静而风不止。
• Victory would give him a passport to the riches he craves. 胜利将使他有机会获得自己梦寐以求的财富。

280 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。

281 physically   

adj.物质上，体格上，身体上，按自然规律

参考例句：

• He was out of sorts physically,as well as disordered mentally.他浑身不舒服，心绪也很乱。
• Every time I think about it I feel physically sick.一想起那件事我就感到极恶心。

282 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。

283 longing   

n.（for）渴望

参考例句：

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

284 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。

285 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。

286 panoramic   

adj. 全景的

参考例句：

• Most rooms enjoy panoramic views of the sea. 大多数房间都能看到海的全景。
• In a panoramic survey of nature, speed is interesting because it has a ceiling. 概观自然全景，速率是有趣的，因为它有一个上限。

287 injustice   

n.非正义，不公正，不公平，侵犯（别人的）权利

参考例句：

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

288 unprecedented   

adj.无前例的，新奇的

参考例句：

• The air crash caused an unprecedented number of deaths.这次空难的死亡人数是空前的。
• A flood of this sort is really unprecedented.这样大的洪水真是十年九不遇。

289 mitigating   

v.减轻，缓和( mitigate的现在分词 )

参考例句：

• Are there any mitigating circumstances in this case ? 本案中是否有任何情况可以减轻被告的罪行？ 来自辞典例句
• A sentencing judge is required to consider any mitigating circumstances befor imposing the death penalty. 在处死刑之前，要求量刑法官必须考虑是否有任何减轻罪行之情节。 来自口语例句

290 woe   

n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌

参考例句：

• Our two peoples are brothers sharing weal and woe.我们两国人民是患难与共的兄弟。
• A man is well or woe as he thinks himself so.自认祸是祸，自认福是福。

291 mingling   

adj.混合的

参考例句：

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

292 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。

293 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。

294 maker   

n.制造者，制造商

参考例句：

• He is a trouble maker，You must be distant with him.他是个捣蛋鬼，你不要跟他在一起。
• A cabinet maker must be a master craftsman.家具木工必须是技艺高超的手艺人。

295 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。

296 deadlock   

n.僵局，僵持

参考例句：

• The negotiations reached a deadlock after two hours.两小时后，谈判陷入了僵局。
• The employers and strikers are at a deadlock over the wage.雇主和罢工者在工资问题上相持不下。

297 persecutes   

（尤指宗教或政治信仰的）迫害(~sb. for sth.)( persecute的第三人称单数 )； 烦扰，困扰或骚扰某人

参考例句：

298 degradation   

n.降级；低落；退化；陵削；降解；衰变

参考例句：

• There are serious problems of land degradation in some arid zones.在一些干旱地带存在严重的土地退化问题。
• Gambling is always coupled with degradation.赌博总是与堕落相联系。

299 beguiled   

v.欺骗( beguile的过去式和过去分词 )；使陶醉；使高兴；消磨（时间等）

参考例句：

• She beguiled them into believing her version of events. 她哄骗他们相信了她叙述的事情。
• He beguiled me into signing this contract. 他诱骗我签订了这项合同。 来自《现代英汉综合大词典》

300 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。

301 discourteous   

adj.不恭的，不敬的

参考例句：

• I was offended by his discourteous reply.他无礼的回答使我很生气。
• It was discourteous of you to arrive late.你迟到了，真没礼貌。

302 shudder   

v.战粟，震动，剧烈地摇晃；n.战粟，抖动

参考例句：

• The sight of the coffin sent a shudder through him.看到那副棺材，他浑身一阵战栗。
• We all shudder at the thought of the dreadful dirty place.我们一想到那可怕的肮脏地方就浑身战惊。

303 swarming   

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

参考例句：

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

304 bustling   

adj.喧闹的

参考例句：

• The market was bustling with life. 市场上生机勃勃。
• This district is getting more and more prosperous and bustling. 这一带越来越繁华了。

305 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。

306 hearth   

n.壁炉炉床，壁炉地面

参考例句：

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

307 hilarity   

n.欢乐；热闹

参考例句：

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

308 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。

309 parable   

n.寓言，比喻

参考例句：

• This is an ancient parable.这是一个古老的寓言。
• The minister preached a sermon on the parable of the lost sheep.牧师讲道时用了亡羊的比喻。

310 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。

311 imprisonment   

n.关押，监禁，坐牢

参考例句：

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

312 banking   

n.银行业，银行学，金融业

参考例句：

• John is launching his son on a career in banking.约翰打算让儿子在银行界谋一个新职位。
• He possesses an extensive knowledge of banking.他具有广博的银行业务知识。

313 recording   

n.录音，记录

参考例句：

• How long will the recording of the song take?录下这首歌得花多少时间？
• I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。

314 vengeance   

n.报复，报仇，复仇

参考例句：

• He swore vengeance against the men who murdered his father.他发誓要向那些杀害他父亲的人报仇。
• For years he brooded vengeance.多年来他一直在盘算报仇。

315 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。

316 garishly   

adv.鲜艳夺目地，俗不可耐地；华丽地

参考例句：

• The temple was garishly decorated with bright plastic flowers. 鲜艳的塑料花把教堂装扮得很华丽。 来自互联网

317 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。

318 softened   

（使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰

参考例句：

• His smile softened slightly. 他的微笑稍柔和了些。
• The ice cream softened and began to melt. 冰淇淋开始变软并开始融化。

319 mutual   

adj.相互的，彼此的；共同的，共有的

参考例句：

• We must pull together for mutual interest.我们必须为相互的利益而通力合作。
• Mutual interests tied us together.相互的利害关系把我们联系在一起。

320 desperately   

adv.极度渴望地，绝望地，孤注一掷地

参考例句：

• He was desperately seeking a way to see her again.他正拼命想办法再见她一面。
• He longed desperately to be back at home.他非常渴望回家。

321 reveres   

v.崇敬，尊崇，敬畏( revere的第三人称单数 )

参考例句：

• Confucian philosophy reveres the teacher above all. 儒家哲学最讲究尊重师长。 来自互联网
• Group's idea: Have in mind gratefully, the heart checks and reveres, sincerity serve, fulfil one's duty. 团队理念：胸怀感激、心存敬畏、诚信服务、尽职尽责。 来自互联网

322 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。

323 sham   

n./adj.假冒(的)，虚伪(的)

参考例句：

• They cunningly played the game of sham peace.他们狡滑地玩弄假和平的把戏。
• His love was a mere sham.他的爱情是虚假的。

324 shams   

假象( sham的名词复数 )； 假货； 虚假的行为（或感情、言语等）； 假装…的人

参考例句：

• Are those real diamonds or only shams? 那些是真钻石还是赝品？
• Tear away their veil of shams! 撕开他们的假面具吧！

325 deceptions   

欺骗( deception的名词复数 )； 骗术，诡计

参考例句：

• Nobody saw through Mary's deceptions. 无人看透玛丽的诡计。
• There was for him only one trustworthy road through deceptions and mirages. 对他来说只有一条可靠的路能避开幻想和错觉。

326 snobs   

（谄上傲下的）势利小人( snob的名词复数 )； 自高自大者，自命不凡者

参考例句：

• She dislikes snobs intensely. 她极其厌恶势利小人。
• Most of the people who worshipped her, who read every tidbit about her in the gossip press and hung up pictures of her in their rooms, were not social snobs. 崇敬她大多数的人不会放过每一篇报导她的八卦新闻，甚至在他们的房间中悬挂黛妃的画像，这些人并非都是傲慢成性。

327 solely   

adv.仅仅，唯一地

参考例句：

• Success should not be measured solely by educational achievement.成功与否不应只用学业成绩来衡量。
• The town depends almost solely on the tourist trade.这座城市几乎完全靠旅游业维持。

328 pervaded   

v.遍及，弥漫( pervade的过去式和过去分词 )

参考例句：

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

329 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。

330 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》

331 snobbery   

n. 充绅士气派, 俗不可耐的性格

参考例句：

• Jocelyn accused Dexter of snobbery. 乔斯琳指责德克斯特势力。
• Snobbery is not so common in English today as it was said fifty years ago. 如今＂Snobbery＂在英语中已不象50年前那么普遍使用。

332 satirize   

v.讽刺

参考例句：

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

333 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。

334 detested   

v.憎恶，嫌恶，痛恨( detest的过去式和过去分词 )

参考例句：

• They detested each other on sight. 他们互相看着就不顺眼。
• The freethinker hated the formalist; the lover of liberty detested the disciplinarian. 自由思想者总是不喜欢拘泥形式者，爱好自由者总是憎恶清规戒律者。 来自辞典例句

335 gambling   

n.赌博；投机

参考例句：

• They have won a lot of money through gambling.他们赌博赢了很多钱。
• The men have been gambling away all night.那些人赌了整整一夜。

336 speculation   

n.思索，沉思；猜测；投机

参考例句：

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

337 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。

338 satires   

讽刺，讥讽( satire的名词复数 )； 讽刺作品

参考例句：

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

339 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。

340 shipwreck   

n.船舶失事，海难

参考例句：

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

341 behold   

v.看，注视，看到

参考例句：

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

342 outrageous   

adj.无理的，令人不能容忍的

参考例句：

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

343 utterances   

n.发声( utterance的名词复数 )；说话方式；语调；言论

参考例句：

• John Maynard Keynes used somewhat gnomic utterances in his General Theory. 约翰·梅纳德·凯恩斯在其《通论》中用了许多精辟言辞。 来自辞典例句
• Elsewhere, particularly in his more public utterances, Hawthorne speaks very differently. 在别的地方，特别是在比较公开的谈话里，霍桑讲的话则完全不同。 来自辞典例句

344 prospered   

成功，兴旺( prosper的过去式和过去分词 )

参考例句：

• The organization certainly prospered under his stewardship. 不可否认，这个组织在他的管理下兴旺了起来。
• Mr. Black prospered from his wise investments. 布莱克先生由于巧妙的投资赚了不少钱。

345 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

346 delusions   

n.欺骗( delusion的名词复数 )；谬见；错觉；妄想

参考例句：

• the delusions of the mentally ill 精神病患者的妄想
• She wants to travel first-class: she must have delusions of grandeur. 她想坐头等舱旅行，她一定自以为很了不起。 来自辞典例句

347 jealousies   

n.妒忌( jealousy的名词复数 )；妒羡

参考例句：

• They were divided by mutual suspicion and jealousies. 他们因为相互猜疑嫉妒而不和。 来自《现代汉英综合大词典》
• I am tired of all these jealousies and quarrels. 我厌恶这些妒忌和吵架的语言。 来自辞典例句

348 avarice   

n.贪婪；贪心

参考例句：

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

349 slippers   

n. 拖鞋

参考例句：

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

350 dressing   

n.(食物)调料；包扎伤口的用品，敷料

参考例句：

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

351 hilarious   

adj.充满笑声的，欢闹的；[反]depressed

参考例句：

• The party got quite hilarious after they brought more wine.在他们又拿来更多的酒之后，派对变得更加热闹起来。
• We stop laughing because the show was so hilarious.我们笑个不停，因为那个节目太搞笑了。

352 disappearance   

n.消失，消散，失踪

参考例句：

• He was hard put to it to explain her disappearance.他难以说明她为什么不见了。
• Her disappearance gave rise to the wildest rumours.她失踪一事引起了各种流言蜚语。

353 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。

354 conspicuous   

adj.明眼的，惹人注目的；炫耀的，摆阔气的

参考例句：

• It is conspicuous that smoking is harmful to health.很明显，抽烟对健康有害。
• Its colouring makes it highly conspicuous.它的色彩使它非常惹人注目。

355 paragon   

n.模范，典型

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。
• Man is the paragon of animals.人是万物之灵。

356 pious   

adj.虔诚的；道貌岸然的

参考例句：

• Alexander is a pious follower of the faith.亚历山大是个虔诚的信徒。
• Her mother was a pious Christian.她母亲是一个虔诚的基督教徒。

357 overdrawn   

透支( overdraw的过去分词 )； (overdraw的过去分词)

参考例句：

• The characters in this novel are rather overdrawn. 这本小说中的人物描写得有些夸张。
• His account of the bank robbery is somewhat overdrawn. 他对银行抢案的叙述有些夸张。

358 juggling   

n. 欺骗, 杂耍(=jugglery) adj. 欺骗的, 欺诈的 动词juggle的现在分词

参考例句：

• He was charged with some dishonest juggling with the accounts. 他被指控用欺骗手段窜改账目。
• The accountant went to prison for juggling his firm's accounts. 会计因涂改公司的帐目而入狱。

359 knaves   

n.恶棍，无赖( knave的名词复数 )；（纸牌中的）杰克

参考例句：

• Give knaves an inch and they will take a yard. 我一日三餐都吃得很丰盛。 来自互联网
• Knaves and robbers can obtain only what was before possessed by others. 流氓、窃贼只能攫取原先由别人占有的财富。 来自互联网

360 rogues   

n.流氓( rogue的名词复数 )；无赖；调皮捣蛋的人；离群的野兽

参考例句：

• 'I'll show these rogues that I'm an honest woman,'said my mother. “我要让那些恶棍知道，我是个诚实的女人。” 来自英汉文学 - 金银岛
• The rogues looked at each other, but swallowed the home-thrust in silence. 那些恶棍面面相觑，但只好默默咽下这正中要害的话。 来自英汉文学 - 金银岛

361 sojourn   

v./n.旅居，寄居；逗留

参考例句：

• It would be cruel to begrudge your sojourn among flowers and fields.如果嫉妒你逗留在鲜花与田野之间，那将是太不近人情的。
• I am already feeling better for my sojourn here.我在此逗留期间，觉得体力日渐恢复。

362 revolves   

v.（使）旋转( revolve的第三人称单数 )；细想

参考例句：

• The earth revolves both round the sun and on its own axis. 地球既公转又自转。 来自《现代汉英综合大词典》
• Thus a wheel revolves on its axle. 于是，轮子在轴上旋转。 来自《简明英汉词典》

363 meek   

adj.温顺的，逆来顺受的

参考例句：

• He expects his wife to be meek and submissive.他期望妻子温顺而且听他摆布。
• The little girl is as meek as a lamb.那个小姑娘像羔羊一般温顺。

364 intriguer   

密谋者

参考例句：

365 reminder   

n.提醒物，纪念品；暗示，提示

参考例句：

• I have had another reminder from the library.我又收到图书馆的催还单。
• It always took a final reminder to get her to pay her share of the rent.总是得发给她一份最后催缴通知，她才付应该交的房租。

366 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。

367 arraignment   

n.提问，传讯，责难

参考例句：

• She was remanded to juvenile detention at her arraignment yesterday. 她昨天被送回了对少年拘留在她的传讯。 来自互联网
• Wyatt asks the desk clerk which courthouse he is being transferred to for arraignment. 他向接待警员询问了马宏将在哪个法庭接受传讯。 来自互联网

368 predecessors   

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

参考例句：

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

369 frailty   

n.脆弱；意志薄弱

参考例句：

• Despite increasing physical frailty,he continued to write stories.尽管身体越来越虛弱，他仍然继续写小说。
• He paused and suddenly all the frailty and fatigue showed.他顿住了，虚弱与疲惫一下子显露出来。

370 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。

371 notably   

adv.值得注意地，显著地，尤其地，特别地

参考例句：

• Many students were absent,notably the monitor.许多学生缺席，特别是连班长也没来。
• A notably short,silver-haired man,he plays basketball with his staff several times a week.他个子明显较为矮小，一头银发，每周都会和他的员工一起打几次篮球。

372 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。

373 satirist   

n.讽刺诗作者，讽刺家，爱挖苦别人的人

参考例句：

• Voltaire was a famous French satirist.伏尔泰是法国一位著名的讽刺作家。
• Perhaps the first to chronicle this dream was the Greek satirist Lucian.也许第一个记述这一梦想的要算是希腊的讽刺作家露西安了。

374 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。

375 analyze   

vt.分析，解析 (=analyse)

参考例句：

• We should analyze the cause and effect of this event.我们应该分析这场事变的因果。
• The teacher tried to analyze the cause of our failure.老师设法分析我们失败的原因。

376 climax   

n.顶点；高潮；v.(使)达到顶点

参考例句：

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

377 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。

378 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。

379 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》

380 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。

381 morsels   

n.一口( morsel的名词复数 )；（尤指食物）小块，碎屑

参考例句：

• They are the most delicate morsels. 这些确是最好吃的部分。 来自辞典例句
• Foxes will scratch up grass to find tasty bug and beetle morsels. 狐狸会挖草地，寻找美味的虫子和甲壳虫。 来自互联网

382 petrified   

adj.惊呆的；目瞪口呆的v.使吓呆，使惊呆；变僵硬；使石化(petrify的过去式和过去分词)

参考例句：

• I'm petrified of snakes. 我特别怕蛇。
• The poor child was petrified with fear. 这可怜的孩子被吓呆了。 来自《简明英汉词典》

383 smothered   

（使）窒息， （使）透不过气( smother的过去式和过去分词 )； 覆盖； 忍住； 抑制

参考例句：

• He smothered the baby with a pillow. 他用枕头把婴儿闷死了。
• The fire is smothered by ashes. 火被灰闷熄了。

384 bray   

n.驴叫声, 喇叭声；v.驴叫

参考例句：

• She cut him off with a wild bray of laughter.她用刺耳的狂笑打断了他的讲话。
• The donkey brayed and tried to bolt.这头驴嘶叫着试图脱缰而逃。

385 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。

386 radicalism   

n. 急进主义, 根本的改革主义

参考例句：

• His radicalism and refusal to compromise isolated him. 他的激进主义与拒绝妥协使他受到孤立。
• Education produced intellectual ferment and the temptations of radicalism. 教育带来知识界的骚动，促使激进主义具有了吸引力。

387 instinctively   

adv.本能地

参考例句：

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

388 brays   

n.驴叫声，似驴叫的声音( bray的名词复数 )；（喇叭的）嘟嘟声v.发出驴叫似的声音( bray的第三人称单数 )；发嘟嘟声；粗声粗气地讲话（或大笑）；猛击

参考例句：

• Then he quieted down and let out some happy brays. 接着，他安静下来，还快乐地放声嘶叫。 来自互联网
• IF a donkey brays at you, don't bray at him. 驴子向你嘶叫，你可别也向它嘶叫。 来自互联网

389 insistent   

adj.迫切的，坚持的

参考例句：

• There was an insistent knock on my door.我听到一阵急促的敲门声。
• He is most insistent on this point.他在这点上很坚持。

390 renaissance   

n.复活，复兴，文艺复兴

参考例句：

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

391 decided   

adj.决定了的，坚决的；明显的，明确的

参考例句：

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

392 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

393 pedantic   

adj.卖弄学问的；迂腐的

参考例句：

• He is learned,but neither stuffy nor pedantic.他很博学，但既不妄自尊大也不卖弄学问。
• Reading in a pedantic way may turn you into a bookworm or a bookcase,and has long been opposed.读死书会变成书呆子，甚至于成为书橱，早有人反对过了。

394 milestones   

n.重要事件( milestone的名词复数 )；重要阶段；转折点；里程碑

参考例句：

• Several important milestones in foreign policy have been passed by this Congress and they can be chalked up as major accomplishments. 这次代表大会通过了对外政策中几起划时代的事件，并且它们可作为主要成就记录下来。 来自《简明英汉词典》
• Dale: I really envy your milestones over the last few years, Don. 我真的很羡慕你在过去几年中所建立的丰功伟绩。 来自互联网

395 touching   

adj.动人的，使人感伤的

参考例句：

• It was a touching sight.这是一幅动人的景象。
• His letter was touching.他的信很感人。

396 craving   

n.渴望,热望

参考例句：

• a craving for chocolate 非常想吃巧克力
• She skipped normal meals to satisfy her craving for chocolate and crisps. 她不吃正餐，以便满足自己吃巧克力和炸薯片的渴望。

397 monastery   

n.修道院，僧院，寺院

参考例句：

• They found an icon in the monastery.他们在修道院中发现了一个圣像。
• She was appointed the superior of the monastery two years ago.两年前她被任命为这个修道院的院长。

398 stolid   

adj.无动于衷的，感情麻木的

参考例句：

• Her face showed nothing but stolid indifference.她的脸上毫无表情，只有麻木的无动于衷。
• He conceals his feelings behind a rather stolid manner.他装作无动于衷的样子以掩盖自己的感情。

399 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。

400 degenerate   

v.退步，堕落；adj.退步的，堕落的；n.堕落者

参考例句：

• He didn't let riches and luxury make him degenerate.他不因财富和奢华而自甘堕落。
• Will too much freedom make them degenerate?太多的自由会令他们堕落吗？

401 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。

402 bruised   

[医]青肿的，瘀紫的

参考例句：

• his bruised and bloodied nose 他沾满血的青肿的鼻子
• She had slipped and badly bruised her face. 她滑了一跤，摔得鼻青脸肿。

403 artistically   

adv.艺术性地

参考例句：

• The book is beautifully printed and artistically bound. 这本书印刷精美，装帧高雅。
• The room is artistically decorated. 房间布置得很美观。

404 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。

405 linen   

n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的

参考例句：

• The worker is starching the linen.这名工人正在给亚麻布上浆。
• Fine linen and cotton fabrics were known as well as wool.精细的亚麻织品和棉织品像羊毛一样闻名遐迩。

406 hoards   

n.（钱财、食物或其他珍贵物品的）储藏，积存( hoard的名词复数 )v.积蓄并储藏（某物）( hoard的第三人称单数 )

参考例句：

• She hoards her money - she never spends it. 她积蓄钱，但从来不花钱。 来自辞典例句
• A squirrel hoards nuts for the winter. 松鼠为过冬贮藏坚果。 来自辞典例句

407 lurk   

n.潜伏，潜行；v.潜藏，潜伏，埋伏

参考例句：

• Dangers lurk in the path of wilderness.在这条荒野的小路上隐伏着危险。
• He thought he saw someone lurking above the chamber during the address.他觉得自己看见有人在演讲时潜藏在会议厅顶上。

408 garrulous   

adj.唠叨的，多话的

参考例句：

• He became positively garrulous after a few glasses of wine.他几杯葡萄酒下肚之后便唠唠叨叨说个没完。
• My garrulous neighbour had given away the secret.我那爱唠叨的邻居已把秘密泄露了。

409 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。

410 psychology   

n.心理，心理学，心理状态

参考例句：

• She has a background in child psychology.她受过儿童心理学的教育。
• He studied philosophy and psychology at Cambridge.他在剑桥大学学习哲学和心理学。

411 peg   

n.木栓，木钉；vt.用木钉钉，用短桩固定

参考例句：

• Hang your overcoat on the peg in the hall.把你的大衣挂在门厅的挂衣钩上。
• He hit the peg mightily on the top with a mallet.他用木槌猛敲木栓顶。

412 laborious   

adj.吃力的，努力的，不流畅

参考例句：

• They had the laborious task of cutting down the huge tree.他们接受了伐大树的艰苦工作。
• Ants and bees are laborious insects.蚂蚁与蜜蜂是勤劳的昆虫。

413 systematic   

adj.有系统的，有计划的，有方法的

参考例句：

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

414 bishops   

（基督教某些教派管辖大教区的）主教( bishop的名词复数 )； （国际象棋的）象

参考例句：

• Each player has two bishops at the start of the game. 棋赛开始时，每名棋手有两只象。
• "Only sheriffs and bishops and rich people and kings, and such like. “他劫富济贫，抢的都是郡长、主教、国王之类的富人。

415 warden   

n.监察员，监狱长，看守人，监护人

参考例句：

• He is the warden of an old people's home.他是一家养老院的管理员。
• The warden of the prison signed the release.监狱长签发释放令。

416 versatile   

adj.通用的，万用的；多才多艺的，多方面的

参考例句：

• A versatile person is often good at a number of different things.多才多艺的人通常擅长许多种不同的事情。
• He had been one of the game's most versatile athletes.他是这项运动中技术最全面的运动员之一。

417 burlesque   

v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿

参考例句：

• Our comic play was a burlesque of a Shakespearean tragedy.我们的喜剧是对莎士比亚一出悲剧的讽刺性模仿。
• He shouldn't burlesque the elder.他不应模仿那长者。

418 yeast   

n.酵母；酵母片；泡沫；v.发酵；起泡沫

参考例句：

• Yeast can be used in making beer and bread.酵母可用于酿啤酒和发面包。
• The yeast began to work.酵母开始发酵。

419 laborer   

n.劳动者，劳工

参考例句：

• Her husband had been a farm laborer.她丈夫以前是个农场雇工。
• He worked as a casual laborer and did not earn much.他当临时工，没有赚多少钱。

420 westward   

n.西方，西部；adj.西方的，向西的；adv.向西

参考例句：

• We live on the westward slope of the hill.我们住在这座山的西山坡。
• Explore westward or wherever.向西或到什么别的地方去勘探。

421 prolific   

adj.丰富的，大量的；多产的，富有创造力的

参考例句：

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

422 abounds   

v.大量存在，充满，富于( abound的第三人称单数 )

参考例句：

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

423 rhythmic   

adj.有节奏的，有韵律的

参考例句：

• Her breathing became more rhythmic.她的呼吸变得更有规律了。
• Good breathing is slow,rhythmic and deep.健康的呼吸方式缓慢深沉而有节奏。

424 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。

425 ordeal   

n.苦难经历，（尤指对品格、耐力的）严峻考验

参考例句：

• She managed to keep her sanity throughout the ordeal.在那场磨难中她始终保持神志正常。
• Being lost in the wilderness for a week was an ordeal for me.在荒野里迷路一星期对我来说真是一场磨难。

426 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。

427 hardy   

adj.勇敢的，果断的，吃苦的；耐寒的

参考例句：

• The kind of plant is a hardy annual.这种植物是耐寒的一年生植物。
• He is a hardy person.他是一个能吃苦耐劳的人。

428 insignificant   

adj.无关紧要的，可忽略的，无意义的

参考例句：

• In winter the effect was found to be insignificant.在冬季，这种作用是不明显的。
• This problem was insignificant compared to others she faced.这一问题与她面临的其他问题比较起来算不得什么。

429 idyllic   

adj.质朴宜人的，田园风光的

参考例句：

• These scenes had an idyllic air.这种情景多少有点田园气氛。
• Many people living in big cities yearn for an idyllic country life.现在的很多都市人向往那种田园化的生活。

430 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。

431 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。

432 ethical   

adj.伦理的，道德的，合乎道德的

参考例句：

• It is necessary to get the youth to have a high ethical concept.必须使青年具有高度的道德观念。
• It was a debate which aroused fervent ethical arguments.那是一场引发强烈的伦理道德争论的辩论。

433 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。

434 weir   

n.堰堤，拦河坝

参考例句：

• The discharge from the weir opening should be free.从堰开口处的泻水应畅通。
• Big Weir River,restraining tears,has departed!大堰河，含泪地去了！

435 emigrant   

adj.移居的，移民的；n.移居外国的人，移民

参考例句：

• He is a British emigrant to Australia.他是个移居澳大利亚的英国人。
• I always think area like this is unsuited for human beings,but it is also unpractical to emigrant in a large scale.我一直觉得，像这样的地方是不适宜人类居住的，可大规模的移民又是不现实的。

436 awakened   

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

参考例句：

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

437 consummate   

adj.完美的；v.成婚；使完美 [反]baffle

参考例句：

• The restored jade burial suit fully reveals the consummate skill of the labouring people of ancient China.复原后的金缕玉衣充分显示出中国古代劳动人民的精湛工艺。
• The actor's acting is consummate and he is loved by the audience.这位演员技艺精湛，深受观众喜爱。

438 liberated   

a.无拘束的，放纵的

参考例句：

• The city was liberated by the advancing army. 军队向前挺进，解放了那座城市。
• The heat brings about a chemical reaction, and oxygen is liberated. 热量引起化学反应，释放出氧气。

439 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。

440 compendium   

n.简要，概略

参考例句：

• The Compendium of Materia Medica has been held in high esteem since it was first published.“本草纲目”问世之后，深受人们的推重。
• The book is a compendium of their poetry,religion and philosophy.这本书是他们诗歌、宗教和哲学的概略。

441 confinement   

n.幽禁，拘留，监禁；分娩；限制，局限

参考例句：

• He spent eleven years in solitary confinement.他度过了11年的单独监禁。
• The date for my wife's confinement was approaching closer and closer.妻子分娩的日子越来越近了。

442 eloquent   

adj.雄辩的，口才流利的；明白显示出的

参考例句：

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

443 trumpet   

n.喇叭，喇叭声；v.吹喇叭，吹嘘

参考例句：

• He plays the violin, but I play the trumpet.他拉提琴，我吹喇叭。
• The trumpet sounded for battle.战斗的号角吹响了。

444 adviser   

n.劝告者，顾问

参考例句：

• They employed me as an adviser.他们聘请我当顾问。
• Our department has engaged a foreign teacher as phonetic adviser.我们系已经聘请了一位外籍老师作为语音顾问。

445 baron   

n.男爵；(商业界等)巨头，大王

参考例句：

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

446 zealous   

adj.狂热的，热心的

参考例句：

• She made zealous efforts to clean up the classroom.她非常热心地努力清扫教室。
• She is a zealous supporter of our cause.她是我们事业的热心支持者。

447 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。

448 contented   

adj.满意的，安心的，知足的

参考例句：

• He won't be contented until he's upset everyone in the office.不把办公室里的每个人弄得心烦意乱他就不会满足。
• The people are making a good living and are contented,each in his station.人民安居乐业。

449 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。

450 partisan   

adj.党派性的；游击队的；n.游击队员；党徒

参考例句：

• In their anger they forget all the partisan quarrels.愤怒之中，他们忘掉一切党派之争。
• The numerous newly created partisan detachments began working slowly towards that region.许多新建的游击队都开始慢慢地向那里移动。

451 odds   

n.让步，机率，可能性，比率；胜败优劣之别

参考例句：

• The odds are 5 to 1 that she will win.她获胜的机会是五比一。
• Do you know the odds of winning the lottery once?你知道赢得一次彩票的几率多大吗？

452 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

453 remarkably   

ad.不同寻常地，相当地

参考例句：

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

454 inaccurate   

adj.错误的，不正确的，不准确的

参考例句：

• The book is both inaccurate and exaggerated.这本书不但不准确，而且夸大其词。
• She never knows the right time because her watch is inaccurate.她从来不知道准确的时间因为她的表不准。

455 derived   

vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取

参考例句：

• Many English words are derived from Latin and Greek. 英语很多词源出于拉丁文和希腊文。 来自《简明英汉词典》
• He derived his enthusiasm for literature from his father. 他对文学的爱好是受他父亲的影响。 来自《简明英汉词典》

456 patriotism   

n.爱国精神，爱国心，爱国主义

参考例句：

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

457 heartily   

adv.衷心地，诚恳地，十分，很

参考例句：

• He ate heartily and went out to look for his horse.他痛快地吃了一顿，就出去找他的马。
• The host seized my hand and shook it heartily.主人抓住我的手，热情地和我握手。

458 fictitious   

adj.虚构的，假设的；空头的

参考例句：

• She invented a fictitious boyfriend to put him off.她虚构出一个男朋友来拒绝他。
• The story my mother told me when I was young is fictitious.小时候妈妈对我讲的那个故事是虚构的。

459 judiciously   

adv.明断地，明智而审慎地

参考例句：

• Let's use these intelligence tests judiciously. 让我们好好利用这些智力测试题吧。 来自《简明英汉词典》
• His ideas were quaint and fantastic. She brought him judiciously to earth. 他的看法荒廖古怪，她颇有见识地劝他面对现实。 来自辞典例句

460 antitheses   

n.对照，对立的，对比法；对立( antithesis的名词复数 )；对立面；对照；对偶

参考例句：

• There are many antitheses in this poem. 这首诗里含有大量的流水对。 来自互联网
• Method: The test was performed by grouping antitheses. 方法：采用分组对照的方式进行试验。 来自互联网

461 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》

462 contagious   

adj.传染性的，有感染力的

参考例句：

• It's a highly contagious infection.这种病极易传染。
• He's got a contagious laugh.他的笑富有感染力。

463 joyously   

ad.快乐地, 高兴地

参考例句：

• She opened the door for me and threw herself in my arms, screaming joyously and demanding that we decorate the tree immediately. 她打开门，直扑我的怀抱，欣喜地喊叫着要马上装饰圣诞树。
• They came running, crying out joyously in trilling girlish voices. 她们边跑边喊，那少女的颤音好不欢快。 来自名作英译部分

464 conversing   

v.交谈，谈话( converse的现在分词 )

参考例句：

• I find that conversing with her is quite difficult. 和她交谈实在很困难。 来自《简明英汉词典》
• They were conversing in the parlor. 他们正在客厅谈话。 来自《现代英汉综合大词典》

465 recollecting   

v.记起，想起( recollect的现在分词 )

参考例句：

• Once wound could heal slowly, my Bo Hui was recollecting. 曾经的伤口会慢慢地愈合，我卜会甾回忆。 来自互联网
• I am afraid of recollecting the life of past in the school. 我不敢回忆我在校过去的生活。 来自互联网

466 orator   

n.演说者，演讲者，雄辩家

参考例句：

• He was so eloquent that he cut down the finest orator.他能言善辩，胜过最好的演说家。
• The orator gestured vigorously while speaking.这位演讲者讲话时用力地做手势。

467 censor   

n./vt.审查，审查员；删改

参考例句：

• The film has not been viewed by the censor.这部影片还未经审查人员审查。
• The play was banned by the censor.该剧本被查禁了。

468 bullied   

adj.被欺负了v.恐吓，威逼( bully的过去式和过去分词 )

参考例句：

• My son is being bullied at school. 我儿子在学校里受欺负。
• The boy bullied the small girl into giving him all her money. 那男孩威逼那个小女孩把所有的钱都给他。 来自《简明英汉词典》

469 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。

470 miserable   

adj.悲惨的，痛苦的；可怜的，糟糕的

参考例句：

• It was miserable of you to make fun of him.你取笑他，这是可耻的。
• Her past life was miserable.她过去的生活很苦。

471 nagging   

adj.唠叨的，挑剔的；使人不得安宁的v.不断地挑剔或批评（某人）( nag的现在分词 )；不断地烦扰或伤害（某人）；无休止地抱怨；不断指责

参考例句：

• Stop nagging—I'll do it as soon as I can. 别唠叨了—我会尽快做的。
• I've got a nagging pain in my lower back. 我后背下方老是疼。 来自《简明英汉词典》

472 irritability   

n.易怒

参考例句：

• It was the almost furtive restlessness and irritability that had possessed him. 那是一种一直纠缠着他的隐秘的不安和烦恼。
• All organisms have irritability while alive. 所有生物体活着时都有应激性。

473 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。

474 cowering   

v.畏缩，抖缩( cower的现在分词 )

参考例句：

• He turned his baleful glare on the cowering suspect. 他恶毒地盯着那个蜷缩成一团的嫌疑犯。 来自《简明英汉词典》
• He stood over the cowering Herb with fists of fury. 他紧握着两个拳头怒气冲天地站在惊魂未定的赫伯面前。 来自辞典例句

475 pangs   

突然的剧痛( pang的名词复数 )； 悲痛

参考例句：

• She felt sudden pangs of regret. 她突然感到痛悔不已。
• With touching pathos he described the pangs of hunger. 他以极具感伤力的笔触描述了饥饿的痛苦。

476 whatsoever   

adv.（用于否定句中以加强语气）任何；pron.无论什么

参考例句：

• There's no reason whatsoever to turn down this suggestion.没有任何理由拒绝这个建议。
• All things whatsoever ye would that men should do to you,do ye even so to them.你想别人对你怎样，你就怎样对人。

477 trample   

vt.踩，践踏；无视，伤害，侵犯

参考例句：

• Don't trample on the grass. 勿踏草地。
• Don't trample on the flowers when you play in the garden. 在花园里玩耍时,不要踩坏花。

478 everlasting   

adj.永恒的，持久的，无止境的

参考例句：

• These tyres are advertised as being everlasting.广告上说轮胎持久耐用。
• He believes in everlasting life after death.他相信死后有不朽的生命。

479 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。

480 livelihood   

n.生计，谋生之道

参考例句：

• Appropriate arrangements will be made for their work and livelihood.他们的工作和生活会得到妥善安排。
• My father gained a bare livelihood of family by his own hands.父亲靠自己的双手勉强维持家计。

481 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。

482 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。

483 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。

484 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。

485 devastation   

n.毁坏；荒废；极度震惊或悲伤

参考例句：

• The bomb caused widespread devastation. 炸弹造成大面积破坏。
• There was devastation on every side. 到处都是破坏的创伤。 来自《简明英汉词典》

486 inaugural   

adj.就职的；n.就职典礼

参考例句：

• We listened to the President's inaugural speech on the radio yesterday.昨天我们通过无线电听了总统的就职演说。
• Professor Pearson gave the inaugural lecture in the new lecture theatre.皮尔逊教授在新的阶梯讲堂发表了启用演说。

487 pervades   

v.遍及，弥漫( pervade的第三人称单数 )

参考例句：

• An unpleasant smell pervades the house. 一种难闻的气味弥漫了全屋。 来自《简明英汉词典》
• An atmosphere of pessimism pervades the economy. 悲观的气氛笼罩着整个经济。 来自辞典例句

488 judgments   

判断( judgment的名词复数 )； 鉴定； 评价； 审判

参考例句：

• A peculiar austerity marked his judgments of modern life. 他对现代生活的批评带着一种特殊的苛刻。
• He is swift with his judgments. 他判断迅速。

489 misanthrope   

n.恨人类的人；厌世者

参考例句：

• While not a commercial success-a pattern largely unbroken until I'm Your Man-this lackadaisical triumph is an inspiration to the misanthrope in us all. 尽管并不是一个商业上的成功，这一模式直到《我是你的男人》才被打破。 这个漫不经心的胜利是对独来独往的我们的一个激励。
• If this all strikes you as fancy, handlebar moustache talk from an old misanthrope who doesn't get things like whatever the hell we're calling “conversations” this week, maybe you're on to something. 如果你觉得我所说的复杂，就像我们今周所说的一个守旧的不愿与他人来往的人在自言自语，那可能你准备做其他事。

490 manifestation   

n.表现形式；表明；现象

参考例句：

• Her smile is a manifestation of joy.她的微笑是她快乐的表现。
• What we call mass is only another manifestation of energy.我们称之为质量的东西只是能量的另一种表现形态。

491 rugged   

adj.高低不平的，粗糙的，粗壮的，强健的

参考例句：

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

492 accomplishments   

n.造诣；完成( accomplishment的名词复数 )；技能；成绩；成就

参考例句：

• It was one of the President's greatest accomplishments. 那是总统最伟大的成就之一。
• Among her accomplishments were sewing,cooking,playing the piano and dancing. 她的才能包括缝纫、烹调、弹钢琴和跳舞。 来自《现代英汉综合大词典》

493 intemperate   

adj.无节制的，放纵的

参考例句：

• Many people felt threatened by Arther's forceful,sometimes intemperate style.很多人都觉得阿瑟的强硬的、有时过激的作风咄咄逼人。
• The style was hurried,the tone intemperate.匆促的笔调，放纵的语气。

494 tracts   

大片土地( tract的名词复数 )； 地带； （体内的）道； （尤指宣扬宗教、伦理或政治的）短文

参考例句：

• vast tracts of forest 大片大片的森林
• There are tracts of desert in Australia. 澳大利亚有大片沙漠。

495 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

496 prone   

adj.(to)易于…的，很可能…的；俯卧的

参考例句：

• Some people are prone to jump to hasty conclusions.有些人往往作出轻率的结论。
• He is prone to lose his temper when people disagree with him.人家一不同意他的意见,他就发脾气。

497 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。

498 anarchy   

n.无政府状态；社会秩序混乱，无秩序

参考例句：

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

499 eyewitness   

n.目击者，见证人

参考例句：

• The police questioned several eyewitness to the murder.警察询问了谋杀案的几位目击者。
• He was the only eyewitness of the robbery.他是那起抢劫案的唯一目击者。

500 catastrophe   

n.大灾难，大祸

参考例句：

• I owe it to you that I survived the catastrophe.亏得你我才大难不死。
• This is a catastrophe beyond human control.这是一场人类无法控制的灾难。

501 portrays   

v.画像( portray的第三人称单数 )；描述；描绘；描画

参考例句：

• The museum collection vividly portrays the heritage of 200 years of canals. 博物馆的藏品让运河200 年的历史再现眼前。 来自《简明英汉词典》
• The film portrays Gandhi as a kind of superman. 这部电影把甘地描绘成一个超人。 来自《简明英汉词典》

502 colossal   

adj.异常的，庞大的

参考例句：

• There has been a colossal waste of public money.一直存在巨大的公款浪费。
• Some of the tall buildings in that city are colossal.那座城市里的一些高层建筑很庞大。

503 calumny   

n.诽谤，污蔑，中伤

参考例句：

• Calumny is answered best with silence.沉默可以止谤。
• Calumny require no proof.诽谤无需证据。

504 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。

505 symbolically   

ad.象征地，象征性地

参考例句：

• By wearing the ring on the third finger of the left hand, a married couple symbolically declares their eternal love for each other. 将婚戒戴在左手的第三只手指上，意味着夫妻双方象征性地宣告他们的爱情天长地久，他们定能白头偕老。
• Symbolically, he coughed to clear his throat. 周经理象征地咳一声无谓的嗽，清清嗓子。

506 symbolical   

a.象征性的

参考例句：

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

507 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。

508 quotation   

n.引文，引语，语录；报价，牌价，行情

参考例句：

• He finished his speech with a quotation from Shakespeare.他讲话结束时引用了莎士比亚的语录。
• The quotation is omitted here.此处引文从略。

509 reverently   

adv.虔诚地

参考例句：

• He gazed reverently at the handiwork. 他满怀敬意地凝视着这件手工艺品。
• Pork gazed at it reverently and slowly delight spread over his face. 波克怀着愉快的心情看着这只表，脸上慢慢显出十分崇敬的神色。

510 persuasive   

adj.有说服力的，能说得使人相信的

参考例句：

• His arguments in favour of a new school are very persuasive.他赞成办一座新学校的理由很有说服力。
• The evidence was not really persuasive enough.证据并不是太有说服力。

511 exhorter   

n.劝勉者，告诫者，提倡者

参考例句：

• Ahead I could hear the Exhorter barking harshly to the crowd. 我听到那个“规劝者”就在前面恶声恶气地向听众乱叫。 来自辞典例句

512 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。

513 sentimentally   

adv.富情感地

参考例句：

• I miss the good old days, ' she added sentimentally. ‘我怀念过去那些美好的日子，’她动情地补充道。 来自互联网
• I have an emotional heart, it is sentimentally attached to you unforgettable. 我心中有一份情感，那是对你刻骨铭心的眷恋。 来自互联网

514 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）

515 justifies   

证明…有理( justify的第三人称单数 )； 为…辩护； 对…作出解释； 为…辩解（或辩护）

参考例句：

• Their frequency of use both justifies and requires the memorization. 频繁的使用需要记忆，也促进了记忆。 来自About Face 3交互设计精髓
• In my judgement the present end justifies the means. 照我的意见，只要目的正当，手段是可以不计较的。

516 hypocrisy   

n.伪善，虚伪

参考例句：

• He railed against hypocrisy and greed.他痛斥伪善和贪婪的行为。
• He accused newspapers of hypocrisy in their treatment of the story.他指责了报纸在报道该新闻时的虚伪。

517 scripture   

n.经文，圣书，手稿；Scripture:(常用复数)《圣经》，《圣经》中的一段

参考例句：

• The scripture states that God did not want us to be alone.圣经指出上帝并不是想让我们独身一人生活。
• They invoked Hindu scripture to justify their position.他们援引印度教的经文为他们的立场辩护。

518 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。

519 humane   

adj.人道的，富有同情心的

参考例句：

• Is it humane to kill animals for food?宰杀牲畜来吃合乎人道吗？
• Their aim is for a more just and humane society.他们的目标是建立一个更加公正、博爱的社会。

520 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。

521 abate   

vi.(风势，疼痛等)减弱，减轻，减退

参考例句：

• We must abate the noise pollution in our city.我们必须消除我们城里的噪音污染。
• The doctor gave him some medicine to abate the powerful pain.医生给了他一些药，以减弱那剧烈的疼痛。

522 guild   

n.行会，同业公会，协会

参考例句：

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

523 devout   

adj.虔诚的，虔敬的，衷心的 (n.devoutness)

参考例句：

• His devout Catholicism appeals to ordinary people.他对天主教的虔诚信仰感染了普通民众。
• The devout man prayed daily.那位虔诚的男士每天都祈祷。

524 austere   

adj.艰苦的；朴素的，朴实无华的；严峻的

参考例句：

• His way of life is rather austere.他的生活方式相当简朴。
• The room was furnished in austere style.这间屋子的陈设都很简单朴素。

525 puritanical   

adj.极端拘谨的；道德严格的

参考例句：

• He has a puritanical attitude towards sex.他在性问题上主张克制，反对纵欲。
• Puritanical grandfather is very strict with his children.古板严厉的祖父对子女要求非常严格。

526 reproof   

n.斥责，责备

参考例句：

• A smart reproof is better than smooth deceit.严厉的责难胜过温和的欺骗。
• He is impatient of reproof.他不能忍受指责。

527 cramped   

a.狭窄的

参考例句：

• The house was terribly small and cramped, but the agent described it as a bijou residence. 房子十分狭小拥挤，但经纪人却把它说成是小巧别致的住宅。
• working in cramped conditions 在拥挤的环境里工作

528 scriptures   

经文，圣典( scripture的名词复数 )； 经典

参考例句：

• Here the apostle Peter affirms his belief that the Scriptures are 'inspired'. 使徒彼得在此表达了他相信《圣经》是通过默感写成的。
• You won't find this moral precept in the scriptures. 你在《圣经》中找不到这种道德规范。

529 habitual   

adj.习惯性的；通常的，惯常的

参考例句：

• He is a habitual criminal.他是一个惯犯。
• They are habitual visitors to our house.他们是我家的常客。

530 intensified   

v.（使）增强， （使）加剧( intensify的过去式和过去分词 )

参考例句：

• Violence intensified during the night. 在夜间暴力活动加剧了。
• The drought has intensified. 旱情加剧了。 来自《简明英汉词典》

531 leisurely   

adj.悠闲的；从容的，慢慢的

参考例句：

• We walked in a leisurely manner,looking in all the windows.我们慢悠悠地走着，看遍所有的橱窗。
• He had a leisurely breakfast and drove cheerfully to work.他从容的吃了早餐，高兴的开车去工作。

532 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。

533 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。

534 defense   

n.防御，保卫；[pl.]防务工事；辩护，答辩

参考例句：

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

535 treatise   

n.专著；(专题)论文

参考例句：

• The doctor wrote a treatise on alcoholism.那位医生写了一篇关于酗酒问题的论文。
• This is not a treatise on statistical theory.这不是一篇有关统计理论的论文。

536 glibly   

adv.流利地，流畅地；满口

参考例句：

• He glibly professed his ignorance of the affair. 他口口声声表白不知道这件事。 来自《现代汉英综合大词典》
• He put ashes on his head, apologized profusely, but then went glibly about his business. 他表示忏悔，满口道歉，但接着又故态复萌了。 来自《现代英汉综合大词典》

537 economists   

n.经济学家，经济专家( economist的名词复数 )

参考例句：

• The sudden rise in share prices has confounded economists. 股价的突然上涨使经济学家大惑不解。
• Foreign bankers and economists cautiously welcomed the minister's initiative. 外国银行家和经济学家对部长的倡议反应谨慎。 来自《简明英汉词典》

538 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。

539 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》

540 overthrown   

adj. 打翻的，推倒的，倾覆的 动词overthrow的过去分词

参考例句：

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

541 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。

542 analytical   

adj.分析的；用分析法的

参考例句：

• I have an analytical approach to every survey.对每项调查我都采用分析方法。
• As a result,analytical data obtained by analysts were often in disagreement.结果各个分析家所得的分析数据常常不一致。

543 redeem   

v.买回，赎回，挽回，恢复，履行（诺言等）

参考例句：

• He had no way to redeem his furniture out of pawn.他无法赎回典当的家具。
• The eyes redeem the face from ugliness.这双眼睛弥补了他其貌不扬之缺陷。

544 prophesied   

v.预告，预言( prophesy的过去式和过去分词 )

参考例句：

• She prophesied that she would win a gold medal. 她预言自己将赢得金牌。
• She prophesied the tragic outcome. 她预言有悲惨的结果。 来自《简明英汉词典》

545 allied   

adj.协约国的；同盟国的

参考例句：

• Britain was allied with the United States many times in history.历史上英国曾多次与美国结盟。
• Allied forces sustained heavy losses in the first few weeks of the campaign.同盟国在最初几周内遭受了巨大的损失。

546 analogous   

adj.相似的；类似的

参考例句：

• The two situations are roughly analogous.两种情況大致相似。
• The company is in a position closely analogous to that of its main rival.该公司与主要竞争对手的处境极为相似。

547 sensuous   

adj.激发美感的；感官的，感觉上的

参考例句：

• Don't get the idea that value of music is commensurate with its sensuous appeal.不要以为音乐的价值与其美的感染力相等。
• The flowers that wreathed his parlor stifled him with their sensuous perfume.包围著客厅的花以其刺激人的香味使他窒息。

548 positively   

adv.明确地，断然，坚决地；实在，确实

参考例句：

• She was positively glowing with happiness.她满脸幸福。
• The weather was positively poisonous.这天气着实讨厌。

549 unreasonable   

adj.不讲道理的，不合情理的，过度的

参考例句：

• I know that they made the most unreasonable demands on you.我知道他们对你提出了最不合理的要求。
• They spend an unreasonable amount of money on clothes.他们花在衣服上的钱太多了。

550 authoritative   

adj.有权威的，可相信的；命令式的；官方的

参考例句：

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

551 beset   

v.镶嵌；困扰，包围

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。
• The plan was beset with difficulties from the beginning.这项计划自开始就困难重重。

552 banter   

n.嘲弄，戏谑；v.取笑，逗弄，开玩笑

参考例句：

• The actress exchanged banter with reporters.女演员与记者相互开玩笑。
• She engages in friendly banter with her customers.她常和顾客逗乐。

553 suave   

adj.温和的；柔和的；文雅的

参考例句：

• He is a suave,cool and cultured man.他是个世故、冷静、有教养的人。
• I had difficulty answering his suave questions.我难以回答他的一些彬彬有礼的提问。

554 deficient   

adj.不足的，不充份的，有缺陷的

参考例句：

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

555 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。

556 inspector   

n.检查员，监察员，视察员

参考例句：

• The inspector was interested in everything pertaining to the school.视察员对有关学校的一切都感兴趣。
• The inspector was shining a flashlight onto the tickets.查票员打着手电筒查看车票。

557 reveller   

n.摆设酒宴者，饮酒狂欢者

参考例句：

558 withdrawn   

vt.收回；使退出；vi.撤退，退出

参考例句：

• Our force has been withdrawn from the danger area.我们的军队已从危险地区撤出。
• All foreign troops should be withdrawn to their own countries.一切外国军队都应撤回本国去。

559 philistine   

n.庸俗的人；adj.市侩的，庸俗的

参考例句：

• I believe he seriously thinks me an awful Philistine.我相信，他真的认为我是个不可救药的庸人。
• Do you know what a philistine is,jim?吉姆，知道什么是庸俗吗?

560 philistines   

n.市侩，庸人( philistine的名词复数 )；庸夫俗子

参考例句：

• He accused those who criticized his work of being philistines. 他指责那些批评他的作品的人是对艺术一窍不通。 来自辞典例句
• As an intellectual Goebbels looked down on the crude philistines of the leading group in Munich. 戈培尔是个知识分子，看不起慕尼黑领导层不学无术的市侩庸人。 来自辞典例句

561 discourses   

论文( discourse的名词复数 )； 演说； 讲道； 话语

参考例句：

• It is said that his discourses were very soul-moving. 据说他的讲道词是很能动人心灵的。
• I am not able to repeat the excellent discourses of this extraordinary man. 这位异人的高超言论我是无法重述的。

562 tranquillity   

n. 平静, 安静

参考例句：

• The phenomenon was so striking and disturbing that his philosophical tranquillity vanished. 这个令人惶惑不安的现象，扰乱了他的旷达宁静的心境。
• My value for domestic tranquillity should much exceed theirs. 我应该远比他们重视家庭的平静生活。

563 outgrows   

长[发展] 得超过（某物）的范围( outgrow的第三人称单数 )； 长[发展]得不能再要（某物）； 长得比…快； 生长速度超过

参考例句：

• This variety of tomato outgrows all others. 这种品种的西红柿生长得比所有其他品种快。
• That boy outgrows his clothes every few months. 那男孩生长发育很快，每隔几个月他的衣服就穿不下了。

564 repose   

v.(使)休息；n.安息

参考例句：

• Don't disturb her repose.不要打扰她休息。
• Her mouth seemed always to be smiling,even in repose.她的嘴角似乎总是挂着微笑，即使在睡眠时也是这样。

565 rivalry   

n.竞争，竞赛，对抗

参考例句：

• The quarrel originated in rivalry between the two families.这次争吵是两家不和引起的。
• He had a lot of rivalry with his brothers and sisters.他和兄弟姐妹间经常较劲。

566 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。

567 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。

568 legendary   

adj.传奇（中）的，闻名遐迩的；n.传奇（文学）

参考例句：

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

569 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。

570 adventurous   

adj.爱冒险的；惊心动魄的，惊险的，刺激的　

参考例句：

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

571 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。

572 antagonist   

n.敌人，对抗者，对手

参考例句：

• His antagonist in the debate was quicker than he.在辩论中他的对手比他反应快。
• The thing is to know the nature of your antagonist.要紧的是要了解你的对手的特性。

573 bracelet   

n.手镯，臂镯

参考例句：

• The jeweler charges lots of money to set diamonds in a bracelet.珠宝匠要很多钱才肯把钻石镶在手镯上。
• She left her gold bracelet as a pledge.她留下她的金手镯作抵押品。

574 harmonious   

adj.和睦的，调和的，和谐的，协调的

参考例句：

• Their harmonious relationship resulted in part from their similar goals.他们关系融洽的部分原因是他们有着相似的目标。
• The room was painted in harmonious colors.房间油漆得色彩调和。

575 quenchless   

不可熄灭的

参考例句：

• P>Passionate love is a quenchless thirst. 热烈的爱情是不可抑制的渴望。

576 sedately   

adv.镇静地，安详地

参考例句：

• Life in the country's south-west glides along rather sedately. 中国西南部的生活就相对比较平静。 来自互联网
• She conducts herself sedately. 她举止端庄。 来自互联网

577 luminous   

adj.发光的，发亮的；光明的；明白易懂的；有启发的

参考例句：

• There are luminous knobs on all the doors in my house.我家所有门上都安有夜光把手。
• Most clocks and watches in this shop are in luminous paint.这家商店出售的大多数钟表都涂了发光漆。

578 elegies   

n.哀歌，挽歌( elegy的名词复数 )

参考例句：

579 stanzas   

节，段( stanza的名词复数 )

参考例句：

• The poem has six stanzas. 这首诗有六小节。
• Stanzas are different from each other in one poem. 诗中节与节差异颇大。

580 chapel   

n.小教堂，殡仪馆

参考例句：

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

581 lament   

n.悲叹，悔恨，恸哭；v.哀悼，悔恨，悲叹

参考例句：

• Her face showed lament.她的脸上露出悲伤的样子。
• We lament the dead.我们哀悼死者。

582 crumbs   

int. (表示惊讶)哎呀 n. 碎屑 名词crumb的复数形式

参考例句：

• She stood up and brushed the crumbs from her sweater. 她站起身掸掉了毛衣上的面包屑。
• Oh crumbs! Is that the time? 啊，天哪！都这会儿啦？

583 barbarian   

n.野蛮人；adj.野蛮(人)的；未开化的

参考例句：

• There is a barbarian tribe living in this forest.有一个原始部落居住在这个林区。
• The walled city was attacked by barbarian hordes.那座有城墙的城市遭到野蛮部落的袭击。

584 satirizes   

v.讽刺，讥讽( satirize的第三人称单数 )

参考例句：

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

585 obedience   

n.服从，顺从

参考例句：

• Society has a right to expect obedience of the law.社会有权要求人人遵守法律。
• Soldiers act in obedience to the orders of their superior officers.士兵们遵照上级军官的命令行动。

586 inquiry   

n.打听，询问，调查，查问

参考例句：

• Many parents have been pressing for an inquiry into the problem.许多家长迫切要求调查这个问题。
• The field of inquiry has narrowed down to five persons.调查的范围已经缩小到只剩5个人了。

587 cardinal   

n.(天主教的)红衣主教；adj.首要的，基本的

参考例句：

• This is a matter of cardinal significance.这是非常重要的事。
• The Cardinal coloured with vexation. 红衣主教感到恼火，脸涨得通红。

588 consistency   

n.一贯性，前后一致，稳定性；(液体的)浓度

参考例句：

• Your behaviour lacks consistency.你的行为缺乏一贯性。
• We appreciate the consistency and stability in China and in Chinese politics.我们赞赏中国及其政策的连续性和稳定性。

589 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。

590 conversion   

n.转化，转换，转变

参考例句：

• He underwent quite a conversion.他彻底变了。
• Waste conversion is a part of the production process.废物处理是生产过程的一个组成部分。

591 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。

592 controversy   

n.争论，辩论，争吵

参考例句：

• That is a fact beyond controversy.那是一个无可争论的事实。
• We ran the risk of becoming the butt of every controversy.我们要冒使自己在所有的纷争中都成为众矢之的的风险。

593 needy   

adj.贫穷的，贫困的，生活艰苦的

参考例句：

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

594 isolation   

n.隔离，孤立，分解，分离

参考例句：

• The millionaire lived in complete isolation from the outside world.这位富翁过着与世隔绝的生活。
• He retired and lived in relative isolation.他退休后，生活比较孤寂。

595 luminously   

发光的； 明亮的； 清楚的； 辉赫

参考例句：

• an alarm clock with a luminous dial 夜光闹钟
• luminous hands on a clock 钟的夜光指针

596 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》

597 ordained   

v.任命（某人）为牧师( ordain的过去式和过去分词 )；授予（某人）圣职；（上帝、法律等）命令；判定

参考例句：

• He was ordained in 1984. 他在一九八四年被任命为牧师。 来自《简明英汉词典》
• He was ordained priest. 他被任命为牧师。 来自辞典例句

598 Mediterranean   

adj.地中海的；地中海沿岸的

参考例句：

• The houses are Mediterranean in character.这些房子都属地中海风格。
• Gibraltar is the key to the Mediterranean.直布罗陀是地中海的要冲。

599 bereavement   

n.亲人丧亡，丧失亲人，丧亲之痛

参考例句：

• the pain of an emotional crisis such as divorce or bereavement 诸如离婚或痛失亲人等情感危机的痛苦
• I sympathize with you in your bereavement. 我对你痛失亲人表示同情。 来自《简明英汉词典》

600 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。

601 soothe   

v.安慰；使平静；使减轻；缓和；奉承

参考例句：

• I've managed to soothe him down a bit.我想方设法使他平静了一点。
• This medicine should soothe your sore throat.这种药会减轻你的喉痛。

602 affected   

adj.不自然的，假装的

参考例句：

• She showed an affected interest in our subject.她假装对我们的课题感到兴趣。
• His manners are affected.他的态度不自然。

603 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。

604 seclusion   

n.隐遁，隔离

参考例句：

• She liked to sunbathe in the seclusion of her own garden.她喜欢在自己僻静的花园里晒日光浴。
• I live very much in seclusion these days.这些天我过着几乎与世隔绝的生活。

605 anguish   

n.(尤指心灵上的)极度痛苦，烦恼

参考例句：

• She cried out for anguish at parting.分手时，她由于痛苦而失声大哭。
• The unspeakable anguish wrung his heart.难言的痛苦折磨着他的心。

606 serenity   

n.宁静，沉着，晴朗

参考例句：

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

607 irony   

n.反语，冷嘲；具有讽刺意味的事，嘲弄

参考例句：

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

608 disarmed   

v.裁军( disarm的过去式和过去分词 )；使息怒

参考例句：

• Most of the rebels were captured and disarmed. 大部分叛乱分子被俘获并解除了武装。
• The swordsman disarmed his opponent and ran him through. 剑客缴了对手的械，并对其乱刺一气。 来自《简明英汉词典》

609 meditation   

n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录

参考例句：

• This peaceful garden lends itself to meditation.这个恬静的花园适于冥想。
• I'm sorry to interrupt your meditation.很抱歉，我打断了你的沉思。

610 outrageously   

凶残地； 肆无忌惮地； 令人不能容忍地； 不寻常地

参考例句：

• Leila kept smiling her outrageously cute smile. 莱拉脸上始终挂着非常可爱的笑容。
• He flirts outrageously. 他肆无忌惮地调情。

611 vindicate   

v.为…辩护或辩解，辩明；证明…正确

参考例句：

• He tried hard to vindicate his honor.他拼命维护自己的名誉。
• How can you vindicate your behavior to the teacher?你怎样才能向老师证明你的行为是对的呢？

612 assent   

v.批准，认可；n.批准，认可

参考例句：

• I cannot assent to what you ask.我不能应允你的要求。
• The new bill passed by Parliament has received Royal Assent.议会所通过的新方案已获国王批准。

613 circumlocution   

n. 绕圈子的话，迂回累赘的陈述

参考例句：

• He is a master at circumlocution.他讲话很会兜圈子。
• This sort of ritual circumlocution is common to many parts of mathematics.这种繁冗的遁辞常见于数学的许多部分分式中。

614 transparent   

adj.明显的，无疑的；透明的

参考例句：

• The water is so transparent that we can see the fishes swimming.水清澈透明，可以看到鱼儿游来游去。
• The window glass is transparent.窗玻璃是透明的。

615 Christians   

n.基督教徒( Christian的名词复数 )

参考例句：

• Christians of all denominations attended the conference. 基督教所有教派的人都出席了这次会议。
• His novel about Jesus caused a furore among Christians. 他关于耶稣的小说激起了基督教徒的公愤。

616 sculptor   

n.雕刻家，雕刻家

参考例句：

• A sculptor forms her material.雕塑家把材料塑造成雕塑品。
• The sculptor rounded the clay into a sphere.那位雕塑家把黏土做成了一个球状。

617 idols   

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

参考例句：

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

618 ironical   

adj.讽刺的，冷嘲的

参考例句：

• That is a summary and ironical end.那是一个具有概括性和讽刺意味的结局。
• From his general demeanour I didn't get the impression that he was being ironical.从他整体的行为来看，我不觉得他是在讲反话。

619 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。

620 eloquence   

n.雄辩；口才，修辞

参考例句：

• I am afraid my eloquence did not avail against the facts.恐怕我的雄辩也无补于事实了。
• The people were charmed by his eloquence.人们被他的口才迷住了。

621 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。

622 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

623 impartial   

adj.(in,to)公正的，无偏见的

参考例句：

• He gave an impartial view of the state of affairs in Ireland.他对爱尔兰的事态发表了公正的看法。
• Careers officers offer impartial advice to all pupils.就业指导员向所有学生提供公正无私的建议。

624 autobiography   

n.自传

参考例句：

• He published his autobiography last autumn.他去年秋天出版了自己的自传。
• His life story is recounted in two fascinating volumes of autobiography.这两卷引人入胜的自传小说详述了他的生平。

625 exuberant   

adj.充满活力的；（植物）繁茂的

参考例句：

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

626 ardor   

n.热情，狂热

参考例句：

• His political ardor led him into many arguments.他的政治狂热使他多次卷入争论中。
• He took up his pursuit with ardor.他满腔热忱地从事工作。

627 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。

628 exalt   

v.赞扬，歌颂，晋升，提升

参考例句：

• She thanked the President to exalt her.她感谢总统提拔她。
• His work exalts all those virtues that we,as Americans,are taught to hold dear.他的作品颂扬了所有那些身为美国人应该珍视的美德。

629 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。

630 dyke   

n.堤，水坝，排水沟

参考例句：

• If one sheep leap over the dyke,all the rest will follow.一只羊跳过沟，其余的羊也跟着跳。
• One ant-hole may cause the collapse of a thousand-li dyke.千里长堤，溃于蚁穴。

631 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

632 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。

633 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

634 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。

635 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》

636 brink   

n.(悬崖、河流等的)边缘，边沿

参考例句：

• The tree grew on the brink of the cliff.那棵树生长在峭壁的边缘。
• The two countries were poised on the brink of war.这两个国家处于交战的边缘。

637 eyelids   

n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色

参考例句：

• She was so tired, her eyelids were beginning to droop. 她太疲倦了，眼睑开始往下垂。
• Her eyelids drooped as if she were on the verge of sleep. 她眼睑低垂好像快要睡着的样子。 来自《简明英汉词典》

638 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。

639 repeal   

n.废止，撤消；v.废止，撤消

参考例句：

• He plans to repeal a number of current policies.他计划废除一些当前的政策。
• He has made out a strong case for the repeal of the law.他提出强有力的理由，赞成废除该法令。

640 dominion   

n.统治，管辖，支配权；领土，版图

参考例句：

• Alexander held dominion over a vast area.亚历山大曾统治过辽阔的地域。
• In the affluent society,the authorities are hardly forced to justify their dominion.在富裕社会里，当局几乎无需证明其统治之合理。

641 jubilee   

n.周年纪念；欢乐

参考例句：

• They had a big jubilee to celebrate the victory.他们举行盛大的周年纪念活动以祝贺胜利。
• Every Jubilee,to take the opposite case,has served a function.反过来说，历次君主巡幸，都曾起到某种作用。