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CHAPTER XII SARAH BERNHARDT
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I said that Sarah Bernhardt should have a chapter to herself.

“Les Comédiens,” said Jules Lema?tre, “tiennent beaucoup de place dans nos conversations et dans nos journaux parce qu’ils en tiennent beaucoup dans nos plaisirs.” Amongst all the many pleasures I have experienced in the theatre, the acutest and greatest have been due to the art and genius of Sarah Bernhardt. Providence2 has always been generous and yet economical in the allotment of men and women of genius to a gaping3 world. Economical, because such appearances are rare; generous, because every human being, to whatever generation he belongs, will probably, at least once during his lifetime, have the chance of watching the transit4, or a phase of the transit, of a great comet.

This is especially true of actors and actresses of genius. Their visits to the earth are rare, yet our forefathers6 had the privilege of seeing Mrs. Siddons and Garrick; our fathers saw Rachel, Ristori, and Salvini; and we shall be able to irritate younger generations, when they rave7 about their new idol9, with reminiscences of Sarah Bernhardt.

Sometimes, of course, as in this case, the comet shines through several generations. I have talked with people who have seen both Rachel and Sarah Bernhardt, and with some who declared that in the first two acts of Phèdre, Sarah Bernhardt surpassed Rachel. Such was the opinion of that sensible and conservative critic, Francisque Sarcey.

The actor’s art dies with him; but the rumour11 of it, when it is very great, lives on the tongue and sometimes in the soul of man, and forms a part of his dreams and of his visions. The great of old still rule our spirits from their urns12; and we, who never saw Rachel, get an idea of her genius from the accounts of her[228] contemporaries, from Théodore de Banville and Charlotte Bront?. Her genius is a fact in the dreams of mankind; just as the beauty of Helen of Troy and the charm of Mary Stuart, whom many generations of men fell in love with. So shall it be with Sarah Bernhardt. There will, it is to be hoped, be great actresses in the future—actresses filled with the Muses’ madness and constrained14 to enlarge rather than to interpret the masterpieces of the world; but Providence (so economical, so generous!) never repeats an effect; and there will never be another Sarah Bernhardt, just as there will never be another Heinrich Heine. Yet when the incredible moment comes for her to leave us, in a world that without her will be a duller and a greyer place, her name and the memory of her fame will live in the dreams of mankind. Sarah Bernhardt delighted several generations, and there were many vicissitudes15 in her career and many sharp fluctuations16 in the appreciation17 she won from the critical both in France and abroad; nor did her fame come suddenly with a rush, as it does to actors and actresses in novels. Even in Henry James’ novel, The Tragic18 Muse13, the development of the heroine’s career and the establishment of her fame happens far too quickly to be real. Henry James was conscious of this himself. He mentions this flaw in the preface he wrote for the novel in the Collected Edition of his works.

Sarah Bernhardt’s career shows no such easy and immediate19 leap into fame, nor is it the matter of a few star parts; it was a series of long, difficult, laborious20, and painful campaigns carried right on into old age (in spite of the loss of a limb), and right through a European war, during which she played in the trenches21 to the poilus; it was a prolonged wrestle22 with the angel of art, in which the angel was defeated by an inflexible23 will and an inspired purpose.

She made her début at the Théatre fran?ais in 1862, in the Iphigénie of Racine. Sarcey, writing of her performance, said:

“Elle se tient bien et prononce avec une netteté parfaite. C’est tout24 ce qu’on peut dire25 en ce moment.” It was not until ten years later that she achieved her first notable success in Le Passant, by Fran?ois Coppée, and that she was hailed as a rising star as the Queen in Ruy Blas, at the Odéon, and became, in her own words, something more than “la petite fée des étudiants.”

Portraits of Sarah Bernhardt by the author (age 7), drawn26 in 1881

Sarah Bernhardt in the eighties

[229]

In 1872 she left the Odéon and entered the Théatre fran?ais once more. She reappeared in Mademoiselle de Belle-Isle[9] with partial success. In writing of this performance, Sarcey expressed doubt of Sarah Bernhardt ever achieving power as well as grace, and strength as well as charm. “Je doute,” he wrote, “que Mademoiselle Sarah Bernhardt trouve jamais dans son délicieux organe ces notes éclatantes et profondes, pour exprimer le paroxysme des passions violentes, qui transportent une salle. Si la nature lui avait donné ce don, elle serait une artiste complète, et il n’y en a pas de telles au théatre.”

It was during a performance of Voltaire’s Za?re, on a stifling27 night in 1873, that Sarah Bernhardt discovered she had undreamed-of stores of energy and electric power at her disposal, and under her control. She had rebelled against having to act during the summer months. Perrin, the director of the Théatre fran?ais, had insisted. When the night came when she was due to appear in Za?re (August 6), she determined28 to exhaust all the power that was in her, and as she was at that time as frail29 as a sylph and was thought to be perilously30 delicate (spitting blood), she decided31 to spite Perrin by dying. She strained every nerve; she cried in earnest; she suffered in earnest; she gave a cry of real pain when struck by the stage dagger32; and when it was all over she thought her last hour must have come; and then she found to her amazement33 that she was quite fresh, and ready to begin the performance all over again. She realised then that her intellect and will could draw when they pleased on her physical resources; and that she could do what she liked with her vocal34 chords. This explains a secret that often puzzled the spectators of her art—her power of letting herself go, and after a violent explosion, just when you thought her voice must be broken for ever by the effort, of opening as it were another stop, and letting flow a ripple35 from a flute36 of the purest gold.

It was in Phèdre that Sarah Bernhardt proved she possessed37 not only grace but power; her rendering38 of Do?a Sol in Hernani (November 1877) definitely sealed her reputation, not only as a tragic actress, but as the incarnation of something[230] new and exotic. And the world recognised her incomparable talent for speaking verse.

In 1879, the Comédie fran?aise visited London, and all London went mad about Sarah Bernhardt. She was not then the star in a cast of mediocrities, she was a star in a dazzling firmament40 of stars. Her fellow actors and actresses were Coquelin, Got, Delaunay, Mounet Sully, Worms, Maubant, and Febvre among the men; and among the women, Croizette, Baretta, Madeleine Brohan, Reichemberg, and Madame Favart. A more varied42, excellent, and complete cast could not be imagined. It was a faultless ensemble43 for tragedy and comedy, for Racine, for Molière, for Victor Hugo, and for Alexandre Dumas fils.

In 1880, the glory of this theatrical44 age of gold was eclipsed and diminished by the flight of Sarah Bernhardt. After a quarrel arising out of the performance of L’Aventurière, she suddenly resigned, and, after a short season in London, in May 1880, started for America.

This rupture45 with the Théatre fran?ais, which was largely due to the adulation she received and the sensation she made in London, was a momentous46 turning-point and break in her career. When it happened, the whole artistic47 world deplored49 it, and there are many critics in France and in England who never ceased to deplore48 it; but a calm review of the whole career of Sarah Bernhardt forces one to the conclusion that it could not have been otherwise.

The whole motto of her life was: “Faire ce qu’on veut.” And sometimes she added to this: “Lemieux est l’ennemi du bien.”

The Théatre fran?ais at that time was indeed an ideal temple of art for so inspired a priestess. But Sarah Bernhardt was more than a priestess of art—she was a personality, a force, a power, which had to find full expression, its utmost limits and range; and if we weigh the pros50 and cons10 of the matter, I do not think we have been the losers. Her art certainly did suffer at times from her travels and her unshackled freedom; she played to ignorant audiences, and sometimes would walk through a part without acting51; she played in inferior plays. On the other hand, had she remained in the narrower confines of the Théatre fran?ais, we should never have realised her capacities to the full. In fact, had she remained at the Théatre fran?ais, she would not have been Sarah Bernhardt. We should have[231] lost as much as we should have gained. It is true we should never have seen her in plays that were utterly52 unworthy of her. On the other hand, we should never probably have seen her Dame41 aux Camélias, her Lorenzaccio, her Hamlet. We should never have had the series of plays that Sardou wrote for her: Fédora, Théodora, La Tosca, etc. Some will contend that this would have been a great advantage. But, despise Sardou as much as you like, the fact remains53 it needs a man of genius to write such plays, and not only a woman of genius, but Sarah Bernhardt and none other, to play in them. In Fédora, Eleonora Duse, the incomparable Duse, could not reach the audience. And now, when these plays are revived in London, we realise all too well, and the public realises too, that there is none who can act them. It is no use acting well in such plays; you must act tremendously or not at all. La Tosca must be a violent shock to the nerves or nothing. When it was first produced, Jules Lema?tre, protesting against the play, said the main situation was so strong, so violent, and so horrible, that it was in the worst sense actor-proof, and so it seemed then. Now we know better; we know by experience that without Sarah Bernhardt the play does not exist; we know that what made it almost unbearable54 was not the situation, but the demeanour, the action, the passivity, the looks, the gestures, the moans, the cries of Sarah Bernhardt in that situation. Had Sardou’s “machine-made” plays never been written, we should never have known one side of Sarah Bernhardt’s genius. I do not say it is the noblest side, but I do say that what we would have missed, and what Sardou’s plays revealed, was an unparalleled manifestation55 of electric energy.

The high-water mark of Sarah’s poetical57 and intellectual art was probably reached in her Phèdre, her Hamlet, and her Lorenzaccio; but the furthest limits of the power of her power were revealed in Sardou’s plays, for Sardou had the intuition to guess what forces lay in the deeps of her personality, and the insight and skill to make plays which, like subtle engines, should enable these forces to reveal themselves at their highest pitch, to find full expression, and to explode in a divine combustion58.

There is another thing to be said about Sarah Bernhardt’s emancipation59 from the Théatre fran?ais. Had she never been independent, had she never been her own master and her own stage manager, she would never have realised for us a whole[232] series of poetical visions and pictures which have had a deep and lasting60 influence on contemporary art. We should never have seen Théodora walk like one of Burne-Jones’s dreams come to life amidst the splendours of the Byzantine Court:
“Tenendo un giglio tra le ceree dita.”

We should never have seen La Princesse Lointaine crowned with lilies, sumptuous61 and sad, like one of Swinburne’s early poems; nor La Samaritaine evoke62 the spices, the fire, and the vehemence63 of the Song of Solomon; nor Gismonda, with chrysanthemums64 in her hair, amidst the jewelled glow of the Middle Ages, against the background of the Acropolis; nor Izé?l incarnating65 the soul and dreams of India. Eliminate these things and you eliminate one of the sources of inspiration of modern art; you take away something from D’Annunzio’s poetry, from Maeterlinck’s prose, from Moreau’s pictures; you destroy one of the mainsprings of Rostand’s work; you annihilate66 some of the colours of modern painting, and you stifle67 some of the notes of modern music; for in all these you can trace in various degrees the subtle, unconscious influence of Sarah Bernhardt.

The most serious break in the appreciation of her art, on the part of the critics and the French public, did not come about immediately after she left the Théatre fran?ais. On the contrary, when she played the part of Adrienne Lecouvreur for the first time—this was in May 1880—in London, her triumph among the critical was complete. I have an article by Sarcey, dated 31st May 1880, in which he raves68 about the performance he had come to London to see, and in which he says, had the performance taken place in Paris, the enthusiasm of the audience would have been boundless69. The most serious break in the appreciation of her art came about after she had been to America, toured round Europe many times, with a repertory of stock plays and an indifferent company, and acted in such complete rubbish as Léna, the adaptation of As in a Looking-Glass, of which I have already given a schoolboy’s impressions. People then began to say they were tired of her. It is true she woke up the public once more with her performance of La Tosca in 1889, but in July 1889 Mr. Walkley voiced a general feeling when he said: “I suspect she herself understands the risks of ‘abounding in her own sense’[233] quite as well as any of us could tell her. She knows her talent needs refreshing70, revitalising, rejuvenating71.” He speaks of “her consciousness of a need for a larger, saner72, more varied repertory. But,” he adds, “she will never get that repertory so long as she goes wandering from pole to pole, with a new piece, specially5 constructed for her by M. Sardou, in her pocket.”

Fortunately this consciousness of a need for a newer, saner repertory took effect in fact, after Sarah Bernhardt came back from a prolonged tour in South America. In the ’nineties she took the Renaissance73 Theatre in Paris, and she opened her season with a delicate and serious drama called Les Rois, by Jules Lema?tre.

I am not sure of the date of this performance, but she played Phèdre at the Renaissance in 1893, and Lema?tre said that “Jamais, Madame Sarah Bernhardt, ne fut plus parfaite, ni plus puissante, ni plus adorable.” She produced Sudermann’s Magda in 1896, and Musset’s Lorenzaccio in December 1896, and then she discovered Rostand, whose first play, Les Romanesques, had been done at the Fran?ais, and turned him into the channel of serious poetical drama.

She then built a theatre for herself, and gave us Rostand’s Samaritaine, Hamlet, L’Aiglon, and a series of Classical matinées; and from that time onward74 she never ceased to produce at least one interesting play a year. That was a fine average, a high achievement, and a real service to art. People seldom reflect that it is necessary for managers and actors to fill their theatre, and they cannot always be producing interesting experiments that do not pay. Small blame, therefore, to Sarah Bernhardt, if she sometimes fell back on Sardou, and all praise and gratitude76 is due to her for the daring experiments she risked.

Among these experiments one of the most remarkable77 of all was that of Jeanne d’Arc in Le Procès de Jeanne d’Arc; another was as Lucrezia Borgia in Victor Hugo’s play; and a third the hero of the charming poetical play Les Bouffons. She found a saner, larger repertory, and crowned her career by triumphing in Athalie in 1920.

Some French critics think her Lorenzaccio was the finest of her parts. Lema?tre said about it: “Elle n’a pas seulement joué, comme elle sait jouer, son r?le: elle l’a composé. Car il ne s’agissait plus ici de ces dames78 aux camélias, et de ces princesses lointaines, fort simples dans leur fond, et qu’elle a su[234] nous rendre émouvantes et belles79, presque sans réflexion et rien qu’en écoutant son sublime80 instinct. A ce génie naturel de la diction et du geste expressifs, elle a su joindre cette fois, comme lorsqu’elle joue Phèdre (mais que Lorenzaccio était plus difficile à pénétrer!) la plus rare et la plus subtile intelligence.”

This is what M. J. de Tillet wrote about the performance in the Revue Bleue of December 1896:

“Cette fois ?’a été le vrai triomphe, sans restrictions81 et sans réserves. Je vous ai dit la semaine dernière qu’elle avait atteint, et presque dépassé le sommet de l’art. Je viens de relire Lorenzaccio, et ?’a été une joie nouvelle, plus rassise et plus convaincue, de retrouver et d’évoquer ses intonations83 et ses gestes. Elle a donné la vie à ce personnage de Lorenzo, que personne n’avait osé aborder avant elle; elle a maintenu, a travers toute la pièce, ce caractère complexe et hésitant; elle en a rendu toutes les nuances avec une vérité et une profondeur singulières. Admirable d’un bout8 à l’autre, sans procédés et sans ‘déblayage,’ sans excès et sans cris, elle nous a émus jusqu’au fond de l’ame, par1 la simplicité et la justesse de sa diction, par l’art souverain des attitudes et des gestes. Et, j’insiste sur ce point, elle a donné au r?le tout entier, sans faiblesse et sans arrêt, une inoubliable physionomie. Qu’elle parle ou quelle se taise, elle est Lorenzaccio des pieds à la tête, corps84 et ame; elle ‘vit’ son personnage, et elle le fait vivre pour nous. Le talent de Mme Sarah Bernhardt m’a parfois plus inquiété que charmé. C’est une raison de plus pour que je répète aujourd’hui qu’elle a atteint le sublime. Jamais, je n’ai rien vu, au théatre, qui égalat ce qu’elle a donné dans Lorenzaccio.”

In Mr. Bernard Shaw’s collected dramatic criticism, Dramatic Opinions and Essays, there is an interesting chapter comparing the two artists in the part of Magda, in which he says that Duse’s performance annihilated85 that of Sarah Bernhardt for him. Let us assume, for the sake of argument, that it did the same for everyone. I saw Sarah Bernhardt play the part superbly in Paris, and I saw Duse play the part superbly in London, and I should have said that Duse lent the character a nobility and a dignity that are not to be found in the text of the play, and that Sarah Bernhardt made of Magda what the author wanted her to be: a rather noisy, exuberant86, vulgar, successful prima donna, a cabotine, not without genius, and with moments, when her human feelings were touched, of[235] greatness; that she portrayed87 the ostentation88 of the actress, and the sudden intoxication89 of success and celebrity90, with their attendant disillusions91, on a talented middle-class German girl; and, when the note called for it, the majesty92 of motherhood, to perfection; but let us assume that Duse in this part gave something more memorable93, and the part certainly suited her temperament94, her irony95, her dignity, perhaps better than any other, and gave her a unique opportunity for self-expression, even at the cost of reality, and of the play. Let us go further, and say that in Dumas’ La Femme de Claude Duse played the part of Césarine, a Sarah Bernhardt part if ever there was one, the part of a wicked, seductive woman; and made of her creation in that part a trembling, quivering, living, vibrating thing; an unforgettable study of vice75 and charm and deadly wickedness and lure96, which Sarah Bernhardt never excelled. Even if we admit all this, the fact still remains that Sarah Bernhardt could play a poetic56 tragedy in a fashion beyond Duse’s reach; that she could play Phèdre and Cleopatra and Do?a Sol; and that Duse, in the r?le of Cleopatra, dwindled97 and was overwhelmed by it. The critics forgot, when they compared the two artists, the glory of Sarah Bernhardt’s past, the extent of range of her present, the possibilities of her future; her interpretations98 of Racine, of Victor Hugo; her understanding of poetry and verse; they did not compare the whole art of Duse with the whole art of Sarah Bernhardt, and had they done so they would have at once realised the absurdity100 of doing such a thing—an absurdity as great as to compare Keats’ poetry with Tolstoy’s novels, or Burne-Jones with George Sand.

The French critics were more discriminating101, and anyone who has the curiosity to turn up what Lema?tre says of Duse in La Dame aux Camélias will find a subtle and discriminating contrast between the art of these two great actresses. Personally I am thankful to have seen them both, and to have thought each unapproachable in her own way.

From 1893 to 1903 Sarah Bernhardt’s career broadened and shone in an Indian summer of maturity102 and glory, and it was during this period that she produced the most interesting plays of her repertory, and it was certainly during this period that she received from French criticism the highest meed of serious praise. But her career was by no means over in 1903. In 1920 all the theatres in Paris closed one day, so that all the actors[236] of Paris might see her play in Athalie; and as I write she is still producing new plays.

In what did the magic, the secret of Sarah Bernhardt consist? The mainsprings of her life and her career were indomitable determination, blent with a fine indifference103 to the opinion of the crowd, and a saving sense of proportion enabling her to keep a cool head and a just estimate of worldly fame amidst a tornado104 of praise, and sometimes in face of volleys of abuse. But as to the secret of her art, when one has said that Sarah Bernhardt worked like a slave until she attained105 a perfect mastery over the means at her disposal; that her attitudes and gestures were a poem in themselves; that if she played Phèdre in dumb-show it would have been worth while going to see; and that if she played Do?a Sol in the dark it would have been worth a pilgrimage to hear—when one has said this, one has said nearly all that can be put into words, and one has said nothing; one has left out the most important part, and in fact everything that matters, because one has omitted her personality, a blend of gestures, look, voice, movement, intonation82 combined, and something else, the charm, the witchery, the spell which defy analysis.

When as Cleopatra she approached Antony, saying: “Je suis la reine d’Egypte,” the fate of empires, the dominion106 of the world, the lordship of Rome, could have no chance in the balance against five silver words and a smile, and we thought that the world would be well lost; and we envied Antony his ruin and his doom107.

But this magic, this undefinable charm, is a thing which it is useless to write about. One must state its existence, and with a thought of pity for those who have not had the opportunity of feeling it, and still more for those who are unable to feel it, pass on. There is no more to be said. It is impossible, too, to define the peculiar108 thrill that has convulsed an audience when Sarah rose to an inspired height of passion. When the spark fell in these Heaven-sent moments, she seemed to be carried away, and to carry us with her in a whirlwind from a crumbling109 world. It is fruitless to dwell at length on this theme, but I will recall some minor110 occasions on which the genius of Sarah Bernhardt worked miracles.

I remember one such occasion in the autumn of 1899. The South African War had been declared, and a concert was being[237] held at the Ritz Hotel in aid of the British wounded. It was a raw and dark November afternoon. In the drawing-room of the Ritz Hotel there was gathered together a well-dressed and singularly uninspiring crowd, depressed111 by the gloomy news from the front, and suffering from anticipated boredom113 at the thoughts of an entertainment in the afternoon. Sarah Bernhardt walked on to the platform dressed in furs, and prepared to recite “La Chanson d’Eviradnus,” by Victor Hugo, and an accompanist sat down before the piano to accompany the recitation with music. I remember my heart sinking. I felt that a recitation to music of a love-song in that Ritz drawing-room on that dark afternoon, before a decorous, dispirited crowd, mostly stolid114 Britishers, was inappropriate; I wished the whole entertainment would vanish; I felt uncomfortable and I pitied Sarah from the bottom of my heart. Then Sarah opened her lips and began to speak the wonderful lyric115 (I quote for the pleasure of writing the words):
“Si tu veux faisons un rêve,
Montons sur deux palefrois;
Tu m’emmènes, je t’enlève,
L’oiseau chante dans les bois.
Je suis ton ma?tre et ta proie;
Partons, c’est la fin39 du jour;
Mon cheval sera la joie;
Ton cheval sera l’amour.”

Ritz and the well-dressed crowd, and the raw November air, and the gloom of the war, the depression and the discomfort116 all disappeared.
“Nous ferons toucher leurs têtes;
Les voyages sont aisés;
Nous donnerons à ces bêtes
Une avoine de baisers.
Viens! nos doux chevaux mensonges
Frappent du pied tous les deux,
Le mien117 au fond des songes
Et le tien au fond des cieux.
Un bagage est nécessaire;
Nous emporterons nos v?ux,
Nos bonheurs, notre misère,
Et la fleur de tes cheveux.”

We heard the champing of the steeds in an enchanted118 forest,[238] the song of the calling bird, and the laughter of adventurous119 lovers.
“Viens, le soir brunit les chênes,
Le moineau rit; ce moqueur
Entend le doux bruit120 des cha?nes
Que tu m’as mises au c?ur.
Ce ne sera point ma faute
Si les forêts et les monts,
En nous voyons c?te à c?te,
Ne murmurent pas: Aimons!
Viens, sois tendre, je suis ivre.
O les verts taillis mouillés!
Ton soufle te fera suivre
Des papillons réveillés.”

In the second line of the last stanza121 quoted:
“O les verts taillis mouillés!”

her voice suddenly changed its key and passed, as it were, from a minor of tenderness to an abrupt122 major of childlike wonder or delighted awe123; it half broke into something between a sob124 of joy and a tearful smile; we saw the dew-drenched grasses and the gleaming thickets125, and then as she said the two next lines the surprise died away in mystery and an infinite homage126:
“Was it love or praise?
Speech half asleep or song half awake?”

And when further on in the poem she said:
“Allons nous en par l’Autriche!
Nous aurons l’aube à nos fronts;
Je serai grand, et toi riche,
Puisque nous nous aimerons,”

we heard the call of youth, the soaring of first love, the spirit of adventure, of romance, and of spring. When she came to the last stanza of all:
“Tu sera dame, et moi comte;
Viens, mon c?ur s’épanouit,
Viens, nous conterons ce conte
Aux étoiles de la nuit,”

she opened wide her raised arms, and one could have sworn a girl of eighteen, “April’s lady,” was calling to her “lord in May.”

When she had done, a great many people in the audience were crying; the applause was deafening127, and she had to say[239] the whole poem over a second time, which she did, with the same effect on the audience.

Another occasion which I shall never forget was the first night that she played Hamlet in Paris. The audience was brilliant and hypercritical, and the play was received coldly until the first scene between Polonius and Hamlet. When Hamlet answers Polonius’s question: “What do you read, my Lord?” with his “Words, words, words,” Sarah Bernhardt played it like this. (She was dressed and got up like the pictures of young Raphael, with a fair wig128; she was the soul of courtesy in the part, a gentle Prince.) Hamlet was lying on a chair reading a book. The first “des mots” he said with an absent-minded indifference, just as anyone speaks when interrupted by a bore; in the second “des mots” his answer seemed to catch his own attention, and the third “des mots” was accompanied by a look, and charged with an intense but fugitive129 intention: something
“between a smile and a smothered130 sigh,”

with a break in the intonation, that clearly said: “Yes, it is words, words, words, and all books and everything else in life and in the whole world is only words, words, words.” This delicate shadow, this adumbration131 of a hint was instantly seized by the audience from the gallery to the stalls; and the whole house cried: “Bravo! bravo!” It was a fine example of the receptivity, the flair132, and the corporate133 intelligence of a good French audience.

Personally I think her Hamlet was one of the four greatest achievements of her career. I will come to the others later. Excepting Sir Johnston Forbes Robertson’s Hamlet, it was the only intelligible134 Hamlet of our time. One great point of difference between this Hamlet and that of any other actors I have seen is, whereas most Hamlets seem isolated135 from the rest of the players, as if they were reciting something apart from the play and speaking to the audience, this Hamlet spoke136 to the other persons of the play, shared their life, their external life, however wide the spiritual gulf137 might be between them and Hamlet. This Hamlet was in Denmark; not in splendid isolation138, on the boards, in order to show how well he could spout139 Shakespeare’s monologues140, or that he was an interesting fellow.

Another point: her Hamlet is the only one I have seen in[240] which there was real continuity, in which one scene seemed to have any connection with the preceding scenes.

She had already shown what she could do in the progression of a single scene by crescendo141, diminuendo transition, and modulation142, in the dialogue with Ophelia—“Get thee to a nunnery.” The transition between the tenderness of “Nymph, in thy orisons be all my sins remembered,” and the brutality143 of “I have heard of your paintings too, well enough,” was made plausible144 by Hamlet catching145 sight of the King and Polonius in the arras—a piece of business recommended, I think, by Coleridge; but the naturalness and the progression of this scene were a marvel146; the profound gravity and bitterness with which she spoke the words: “I am myself indifferent honest: but I could accuse me of such things, that it were better my mother had not borne me: I am very proud, revengeful, ambitious.” One seemed to be overhearing Shakespeare himself in a confessional when she said that speech, and the cynicism of the final words of the scene were whispered and hissed147 with a withering148, blighting149 bitterness, her voice sinking to a swift whisper, as though all the utterance150 of the body has been exhausted151, and these words were the cry of a broken heart. But an example of what I mean by the continuity of the interpretation99 is when the play within the play is finished, when Hamlet breaks up the whole entertainment by his startling behaviour. In that scene Sarah Bernhardt was like a tiger; her glance transfixed and pierced through the King, and towards the end of the play within the play she crept across the stage and climbed up on to the high, raised, balconied dais on the right of the stage, from which he was looking on, and stared straight into his face with the accusing, questioning challenge of an avenging152 angel. But the point I want to make is this: when that scene is over, most players take the interview with Rosencrantz and Guildenstern, which follows immediately after it, as though nothing had happened. Not so Sarah Bernhardt; during the whole of this interview she played in a manner which let you see that Hamlet was still trembling with excitement from what had happened immediately before; and this not only brought out the irony and the point of Rosencrantz and Guildenstern’s flat conventionality, but gave the audience the sharp sensation that they were face to face with life itself. So was it throughout[241] her Hamlet; each scene depended on all the others; and the various moods of the Dane succeeded one another, like clouds that chased one another but belonged to one sky, and not like separate slides of a magic lantern.

The fight with Laertes was terribly natural; the business of the exchange of swords, and the expression in Hamlet’s eyes when he realised, and showed that he had realised, that one of the swords was poisoned and now in his hands, which, in the hands of mediocre153 players, becomes so preposterously154 extravagant155, was tremendous.

The whole performance was natural, easy, life-like, and princely, and perhaps the most poignant156 scene of all, and what is the most poignant scene in the play, if it is well played, was the conversation with Horatio, just before the final duel157 when Hamlet says: “If it be not to come, it will be now.” Sarah charged these words with a sense of doom, with the set courage that faces doom and with the underlying158 certainty of doom in spite of the courage that is there to meet it. It made one’s blood run cold.

Another occasion when Sarah Bernhardt’s acting seemed to me tremendous, was a performance of La Dame aux Camélias not long before the war. I had seen her play the part dozens of times, and during a space of twenty years both in Paris and in London. She was not well; she was suffering from rheumatism159; the stage had to be marked out in chalk for her, showing where she could stand up. She was too unwell to stand up for more than certain given moments. I went to see her with a Russian actress who had seen her play in St. Petersburg or Moscow, and not been able to endure her acting; she had seen her walk through a part before an indifferent audience that wondered what her great reputation was founded on. We arrived late after the second act, and I went behind the scenes and talked to Sarah, and told her of this Russian actress. She played the last three acts in so moving and simple a manner, and the last act with such agonising poignancy160 and reserve that not only was my Russian friend in tears, but the actors on the stage cried so much that their tears discoloured their faces and made runnels in their grease paint.

As we went away my Russian friend said to me that was the finest bit of acting she had ever seen or hoped to see again.

Another time, I think it was 1896, I was present at a[242] performance of Magda in Paris at the Renaissance Theatre by Sarah; in her own phrase, le Dieu était là, and I shall never forget the thrill that passed through the audience when Magda, at the thought of being separated from her child, let loose her passion, and spoke the elemental love of a mother defending her child. Here the advocatus Diaboli will chuckle161 and say something about “tearing a passion to pieces.” This was just what it was not. The tirade162 was concentrated and subdued163, and it culminated164 in a whisper which had the vehemence of a whirlwind. The scene was interrupted by a spontaneous cry of applause. I have sometimes heard applause like this before and since, when Sarah Bernhardt has been acting, but I have never seen the art of any other actor or actress provoke so great and so loud a cry.

I said Sarah Bernhardt’s Hamlet was one of the four great achievements of her career. These are what I think were the others:

The greatest thing an actor or an actress can do is to create a poet. It used at one time to be said that Sarah Bernhardt had failed to do this. Yet the only really remarkable French dramatic poet of modern times, whose plays really moved and held the public, Edmond Rostand, was a creation of Sarah Bernhardt. The younger generation of his time, and some men of letters in France, but not all (émile Faguet was a notable exception, and Jules Lema?tre writes of his art with great discrimination), used to despise the verse of Edmond Rostand. But whatever anyone can say about the literary value of his work, there is no doubt about its dramatic value. Rostand may or may not have been a great poet or even a great artist in verse, but that he was a great poetical dramatist was proved by the only possible test—that of the rapturous enthusiasm of his audience, wherever and in whatever language his plays are performed. Since Victor Hugo, he is the one writer of our time, and the only writer in this century in the whole of Europe, who made a direct and successful appeal to the public, to the public in all countries where his plays were performed, and stirred and delighted them to the depths of their being through the medium of dramatic poetry. Surely this is no mean achievement; besides this, even among French critics, there are many who maintain that he is a genuine poet. Well, Sarah Bernhardt is in the main responsible for Rostand, for[243] had there been no Sarah there would have been no Princesse Lointaine, and no Cyrano (for it was Coquelin’s delight in La Princesse Lointaine which made him ask Rostand for a play), no Samaritaine, and no L’Aiglon.

This is one of the achievements of Sarah Bernhardt. Another and perhaps a more important achievement was accomplished165 before this—her resuscitation166 of Racine. Let everyone interested in this question get M. émile Faguet’s Propos de Théatre. M. Faguet shows with great wealth of detail and abundance of contemporary evidence that in the ’seventies, until Sarah Bernhardt played in Andromaque and Phèdre, Racine’s plays were thought unsuited for dramatic representation. Even Sarcey used to say in those days that Racine was not un homme de théatre. Sarah Bernhardt changed all this. She revealed the beauties of Racine to her contemporaries. She put new life into his plays, and by her incomparable delivery she showed off, as no one else can hope to do, the various and subtle secrets of Racine’s verse.

She did the same for Victor Hugo when she played Do?a Sol and the Queen in Ruy Bias167. Théodore de Banville, in his Camées Parisiens, says there could never be another Queen in Ruy Bias like Sarah, and that, whenever the words:
“Elle avait un petit diadème en dentelle d’argent”

are spoken, the vision of Sarah Bernhardt will rise, as though it were that of a real person, frail, slender, with a small crown set in her wonderful hair.

Yet, when all is said and done, Sarah Bernhardt’s supreme168 achievement is another and a fourth: her Phèdre. I do not think that anyone will disagree with this. It was in Phèdre that she gave the maximum of beauty, and exhibited the whole range of her highest artistic qualities. In Phèdre her movements and her gestures, her explosions of fury and her outbursts of passion, were subservient169 to a commanding rhythm; from the moment Phèdre walked on to the stage trembling under the load of her unconfessed passion until the moment she descended170 into Hades, par un chemin plus lent, the spectator witnessed the building up of a miraculous171 piece of architecture, in time and not in space; and followed the progressions, the rise, the crisis, and the tranquil172 close of a mysterious symphony. Moreover, a window was opened for him wide on to the enchanted[244] land: the realm of beauty in which there are no conflicts of times and fashions, but in which all who bear the torch have an equal inheritance. He saw a woman speaking the precise, stately, and musical language of the court of Louis XIV., who, by her utterance, the plastic beauty of her attitudes, and the rhythm of her movements, opened the gates of time, and beyond the veil of the seventeenth century evoked173 the vision of ancient Greece. Or, rather, time was annihilated, seventeenth-century France and ancient Greece, Versailles and Trézène, were merged174 into one; he was face to face with involuntary passion and the unequal struggle between it and reluctant conscience.

There was the unwilling175 prey176 of the goddess, “a lily on her brow with anguish177 moist and fever dew”; but at the sound of her voice and the music of her grief, perhaps we forgot all this, perhaps we forgot the ancient tales of Greece, and Crete, we forgot Racine and Versailles; perhaps we thought only of the woman that was there before us, who surely was something more than human: was it she who plied178 the golden loom112 in the island of ??a and made Ulysses swerve179 in mid-ocean from his goal? Or she who sailed down the Cydnus and revelled180 with Mark Antony? Or she for whom Geoffroy Rudel sailed to Tripoli, and sang and died? Or she who haunted the vision but baffled the pencil of Leonardo da Vinci? Or she who excelled “all women in the magic of her locks,” and beckoned181 to Faust on the Brocken? She was something of all these things, an incarnation of the spirit that, in all times and in all countries, whether she be called Lilith or Lamia or La Gioconda, in the semblance182 of a “Belle Dame sans Merci,” bewitches the heart and binds183 the brain of man with a spell, and makes the world seem a dark and empty place without her, and Death for her sake and in her sight a joyous184 thing.

So used we to dream when we saw those harmonious185 gestures and heard that matchless utterance. Then the curtain fell, and we remembered that it was only a play, and that even Sarah Bernhardt must “fare as other Empresses,” and “wane with enforc’d and necessary change.”

Nevertheless, we give thanks—we that have lived in her day; for, whatever the future may bring, there will never be another Sarah Bernhardt:
“Yea, they shall say, earth’s womb has borne in vain
New things, and never this best thing again.”


点击收听单词发音收听单词发音  

1 par OK0xR     
n.标准,票面价值,平均数量;adj.票面的,平常的,标准的
参考例句:
  • Sales of nylon have been below par in recent years.近年来尼龙织品的销售额一直不及以往。
  • I don't think his ability is on a par with yours.我认为他的能力不能与你的能力相媲美。
2 providence 8tdyh     
n.深谋远虑,天道,天意;远见;节约;上帝
参考例句:
  • It is tempting Providence to go in that old boat.乘那艘旧船前往是冒大险。
  • To act as you have done is to fly in the face of Providence.照你的所作所为那样去行事,是违背上帝的意志的。
3 gaping gaping     
adj.口的;张口的;敞口的;多洞穴的v.目瞪口呆地凝视( gape的现在分词 );张开,张大
参考例句:
  • Ahead of them was a gaping abyss. 他们前面是一个巨大的深渊。
  • The antelope could not escape the crocodile's gaping jaws. 那只羚羊无法从鱷鱼张开的大口中逃脱。 来自《简明英汉词典》
4 transit MglzVT     
n.经过,运输;vt.穿越,旋转;vi.越过
参考例句:
  • His luggage was lost in transit.他的行李在运送中丢失。
  • The canal can transit a total of 50 ships daily.这条运河每天能通过50条船。
5 specially Hviwq     
adv.特定地;特殊地;明确地
参考例句:
  • They are specially packaged so that they stack easily.它们经过特别包装以便于堆放。
  • The machine was designed specially for demolishing old buildings.这种机器是专为拆毁旧楼房而设计的。
6 forefathers EsTzkE     
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》
7 rave MA8z9     
vi.胡言乱语;热衷谈论;n.热情赞扬
参考例句:
  • The drunkard began to rave again.这酒鬼又开始胡言乱语了。
  • Now I understand why readers rave about this book.我现明白读者为何对这本书赞不绝口了。
8 bout Asbzz     
n.侵袭,发作;一次(阵,回);拳击等比赛
参考例句:
  • I was suffering with a bout of nerves.我感到一阵紧张。
  • That bout of pneumonia enfeebled her.那次肺炎的发作使她虚弱了。
9 idol Z4zyo     
n.偶像,红人,宠儿
参考例句:
  • As an only child he was the idol of his parents.作为独子,他是父母的宠儿。
  • Blind worship of this idol must be ended.对这个偶像的盲目崇拜应该结束了。
10 cons eec38a6d10735a91d1247a80b5e213a6     
n.欺骗,骗局( con的名词复数 )v.诈骗,哄骗( con的第三人称单数 )
参考例句:
  • The pros and cons cancel out. 正反两种意见抵消。 来自《现代英汉综合大词典》
  • We should hear all the pros and cons of the matter before we make a decision. 我们在对这事做出决定之前,应该先听取正反两方面的意见。 来自《简明英汉词典》
11 rumour 1SYzZ     
n.谣言,谣传,传闻
参考例句:
  • I should like to know who put that rumour about.我想知道是谁散布了那谣言。
  • There has been a rumour mill on him for years.几年来,一直有谣言产生,对他进行中伤。
12 urns 6df9129bd5aa442c382b5bd8a5a61135     
n.壶( urn的名词复数 );瓮;缸;骨灰瓮
参考例句:
  • Wine utensils unearthed include jars, urns, pots, bowls and cups. 发掘出的酒器皿有瓶、瓮、罐、壶、碗和杯子。 来自互联网
  • Ernie yearned to learn to turn urns. 呕尼渴望学会转咖啡壶。 来自互联网
13 muse v6CzM     
n.缪斯(希腊神话中的女神),创作灵感
参考例句:
  • His muse had deserted him,and he could no longer write.他已无灵感,不能再写作了。
  • Many of the papers muse on the fate of the President.很多报纸都在揣测总统的命运。
14 constrained YvbzqU     
adj.束缚的,节制的
参考例句:
  • The evidence was so compelling that he felt constrained to accept it. 证据是那样的令人折服,他觉得不得不接受。
  • I feel constrained to write and ask for your forgiveness. 我不得不写信请你原谅。
15 vicissitudes KeFzyd     
n.变迁,世事变化;变迁兴衰( vicissitude的名词复数 );盛衰兴废
参考例句:
  • He experienced several great social vicissitudes in his life. 他一生中经历了几次大的社会变迁。 来自《简明英汉词典》
  • A man used to vicissitudes is not easily dejected. 饱经沧桑,不易沮丧。 来自《简明英汉词典》
16 fluctuations 5ffd9bfff797526ec241b97cfb872d61     
波动,涨落,起伏( fluctuation的名词复数 )
参考例句:
  • He showed the price fluctuations in a statistical table. 他用统计表显示价格的波动。
  • There were so many unpredictable fluctuations on the Stock Exchange. 股票市场瞬息万变。
17 appreciation Pv9zs     
n.评价;欣赏;感谢;领会,理解;价格上涨
参考例句:
  • I would like to express my appreciation and thanks to you all.我想对你们所有人表达我的感激和谢意。
  • I'll be sending them a donation in appreciation of their help.我将送给他们一笔捐款以感谢他们的帮助。
18 tragic inaw2     
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。
19 immediate aapxh     
adj.立即的;直接的,最接近的;紧靠的
参考例句:
  • His immediate neighbours felt it their duty to call.他的近邻认为他们有责任去拜访。
  • We declared ourselves for the immediate convocation of the meeting.我们主张立即召开这个会议。
20 laborious VxoyD     
adj.吃力的,努力的,不流畅
参考例句:
  • They had the laborious task of cutting down the huge tree.他们接受了伐大树的艰苦工作。
  • Ants and bees are laborious insects.蚂蚁与蜜蜂是勤劳的昆虫。
21 trenches ed0fcecda36d9eed25f5db569f03502d     
深沟,地沟( trench的名词复数 ); 战壕
参考例句:
  • life in the trenches 第一次世界大战期间的战壕生活
  • The troops stormed the enemy's trenches and fanned out across the fields. 部队猛攻敌人的战壕,并在田野上呈扇形散开。
22 wrestle XfLwD     
vi.摔跤,角力;搏斗;全力对付
参考例句:
  • He taught his little brother how to wrestle.他教他小弟弟如何摔跤。
  • We have to wrestle with difficulties.我们必须同困难作斗争。
23 inflexible xbZz7     
adj.不可改变的,不受影响的,不屈服的
参考例句:
  • Charles was a man of settled habits and inflexible routine.查尔斯是一个恪守习惯、生活规律不容打乱的人。
  • The new plastic is completely inflexible.这种新塑料是完全不可弯曲的。
24 tout iG7yL     
v.推销,招徕;兜售;吹捧,劝诱
参考例句:
  • They say it will let them tout progress in the war.他们称这将有助于鼓吹他们在战争中的成果。
  • If your case studies just tout results,don't bother requiring registration to view them.如果你的案例研究只是吹捧结果,就别烦扰别人来注册访问了。
25 dire llUz9     
adj.可怕的,悲惨的,阴惨的,极端的
参考例句:
  • There were dire warnings about the dangers of watching too much TV.曾经有人就看电视太多的危害性提出严重警告。
  • We were indeed in dire straits.But we pulled through.那时我们的困难真是大极了,但是我们渡过了困难。
26 drawn MuXzIi     
v.拖,拉,拔出;adj.憔悴的,紧张的
参考例句:
  • All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
  • Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。
27 stifling dhxz7C     
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。
28 determined duszmP     
adj.坚定的;有决心的
参考例句:
  • I have determined on going to Tibet after graduation.我已决定毕业后去西藏。
  • He determined to view the rooms behind the office.他决定查看一下办公室后面的房间。
29 frail yz3yD     
adj.身体虚弱的;易损坏的
参考例句:
  • Mrs. Warner is already 96 and too frail to live by herself.华纳太太已经九十六岁了,身体虚弱,不便独居。
  • She lay in bed looking particularly frail.她躺在床上,看上去特别虚弱。
30 perilously 215e5a0461b19248639b63df048e2328     
adv.充满危险地,危机四伏地
参考例句:
  • They were perilously close to the edge of the precipice. 他们离悬崖边很近,十分危险。 来自《简明英汉词典》
  • It'seemed to me that we had come perilously close to failure already. 对我来说,好像失败和我只有一步之遥,岌岌可危。 来自互联网
31 decided lvqzZd     
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。
32 dagger XnPz0     
n.匕首,短剑,剑号
参考例句:
  • The bad news is a dagger to his heart.这条坏消息刺痛了他的心。
  • The murderer thrust a dagger into her heart.凶手将匕首刺进她的心脏。
33 amazement 7zlzBK     
n.惊奇,惊讶
参考例句:
  • All those around him looked at him with amazement.周围的人都对他投射出惊异的眼光。
  • He looked at me in blank amazement.他带着迷茫惊诧的神情望着我。
34 vocal vhOwA     
adj.直言不讳的;嗓音的;n.[pl.]声乐节目
参考例句:
  • The tongue is a vocal organ.舌头是一个发音器官。
  • Public opinion at last became vocal.终于舆论哗然。
35 ripple isLyh     
n.涟波,涟漪,波纹,粗钢梳;vt.使...起涟漪,使起波纹; vi.呈波浪状,起伏前进
参考例句:
  • The pebble made a ripple on the surface of the lake.石子在湖面上激起一个涟漪。
  • The small ripple split upon the beach.小小的涟漪卷来,碎在沙滩上。
36 flute hj9xH     
n.长笛;v.吹笛
参考例句:
  • He took out his flute, and blew at it.他拿出笛子吹了起来。
  • There is an extensive repertoire of music written for the flute.有很多供长笛演奏的曲目。
37 possessed xuyyQ     
adj.疯狂的;拥有的,占有的
参考例句:
  • He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
  • He behaved like someone possessed.他行为举止像是魔怔了。
38 rendering oV5xD     
n.表现,描写
参考例句:
  • She gave a splendid rendering of Beethoven's piano sonata.她精彩地演奏了贝多芬的钢琴奏鸣曲。
  • His narrative is a super rendering of dialect speech and idiom.他的叙述是方言和土语最成功的运用。
39 fin qkexO     
n.鳍;(飞机的)安定翼
参考例句:
  • They swim using a small fin on their back.它们用背上的小鳍游动。
  • The aircraft has a long tail fin.那架飞机有一个长长的尾翼。
40 firmament h71yN     
n.苍穹;最高层
参考例句:
  • There are no stars in the firmament.天空没有一颗星星。
  • He was rich,and a rising star in the political firmament.他十分富有,并且是政治高层一颗冉冉升起的新星。
41 dame dvGzR0     
n.女士
参考例句:
  • The dame tell of her experience as a wife and mother.这位年长妇女讲了她作妻子和母亲的经验。
  • If you stick around,you'll have to marry that dame.如果再逗留多一会,你就要跟那个夫人结婚。
42 varied giIw9     
adj.多样的,多变化的
参考例句:
  • The forms of art are many and varied.艺术的形式是多种多样的。
  • The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。
43 ensemble 28GyV     
n.合奏(唱)组;全套服装;整体,总效果
参考例句:
  • We should consider the buildings as an ensemble.我们应把那些建筑物视作一个整体。
  • It is ensemble music for up to about ten players,with one player to a part.它是最多十人演奏的合奏音乐,每人担任一部分。
44 theatrical pIRzF     
adj.剧场的,演戏的;做戏似的,做作的
参考例句:
  • The final scene was dismayingly lacking in theatrical effect.最后一场缺乏戏剧效果,叫人失望。
  • She always makes some theatrical gesture.她老在做些夸张的手势。
45 rupture qsyyc     
n.破裂;(关系的)决裂;v.(使)破裂
参考例句:
  • I can rupture a rule for a friend.我可以为朋友破一次例。
  • The rupture of a blood vessel usually cause the mark of a bruise.血管的突然破裂往往会造成外伤的痕迹。
46 momentous Zjay9     
adj.重要的,重大的
参考例句:
  • I am deeply honoured to be invited to this momentous occasion.能应邀出席如此重要的场合,我深感荣幸。
  • The momentous news was that war had begun.重大的新闻是战争已经开始。
47 artistic IeWyG     
adj.艺术(家)的,美术(家)的;善于艺术创作的
参考例句:
  • The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
  • These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。
48 deplore mmdz1     
vt.哀叹,对...深感遗憾
参考例句:
  • I deplore what has happened.我为所发生的事深感愤慨。
  • There are many of us who deplore this lack of responsibility.我们中有许多人谴责这种不负责任的做法。
49 deplored 5e09629c8c32d80fe4b48562675b50ad     
v.悲叹,痛惜,强烈反对( deplore的过去式和过去分词 )
参考例句:
  • They deplored the price of motor car, textiles, wheat, and oil. 他们悲叹汽车、纺织品、小麦和石油的价格。 来自辞典例句
  • Hawthorne feels that all excess is to be deplored. 霍桑觉得一切过分的举动都是可悲的。 来自辞典例句
50 pros pros     
abbr.prosecuting 起诉;prosecutor 起诉人;professionals 自由职业者;proscenium (舞台)前部n.赞成的意见( pro的名词复数 );赞成的理由;抵偿物;交换物
参考例句:
  • The pros and cons cancel out. 正反两种意见抵消。 来自《现代英汉综合大词典》
  • We should hear all the pros and cons of the matter before we make a decision. 我们在对这事做出决定之前,应该先听取正反两方面的意见。 来自《简明英汉词典》
51 acting czRzoc     
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。
52 utterly ZfpzM1     
adv.完全地,绝对地
参考例句:
  • Utterly devoted to the people,he gave his life in saving his patients.他忠于人民,把毕生精力用于挽救患者的生命。
  • I was utterly ravished by the way she smiled.她的微笑使我完全陶醉了。
53 remains 1kMzTy     
n.剩余物,残留物;遗体,遗迹
参考例句:
  • He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
  • The remains of the meal were fed to the dog.残羹剩饭喂狗了。
54 unbearable alCwB     
adj.不能容忍的;忍受不住的
参考例句:
  • It is unbearable to be always on thorns.老是处于焦虑不安的情况中是受不了的。
  • The more he thought of it the more unbearable it became.他越想越觉得无法忍受。
55 manifestation 0RCz6     
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。
56 poetic b2PzT     
adj.富有诗意的,有诗人气质的,善于抒情的
参考例句:
  • His poetic idiom is stamped with expressions describing group feeling and thought.他的诗中的措辞往往带有描写群体感情和思想的印记。
  • His poetic novels have gone through three different historical stages.他的诗情小说创作经历了三个不同的历史阶段。
57 poetical 7c9cba40bd406e674afef9ffe64babcd     
adj.似诗人的;诗一般的;韵文的;富有诗意的
参考例句:
  • This is a poetical picture of the landscape. 这是一幅富有诗意的风景画。 来自《简明英汉词典》
  • John is making a periphrastic study in a worn-out poetical fashion. 约翰正在对陈腐的诗风做迂回冗长的研究。 来自辞典例句
58 combustion 4qKzS     
n.燃烧;氧化;骚动
参考例句:
  • We might be tempted to think of combustion.我们也许会联想到氧化。
  • The smoke formed by their combustion is negligible.由它燃烧所生成的烟是可忽略的。
59 emancipation Sjlzb     
n.(从束缚、支配下)解放
参考例句:
  • We must arouse them to fight for their own emancipation. 我们必须唤起他们为其自身的解放而斗争。 来自《简明英汉词典》
  • They rejoiced over their own emancipation. 他们为自己的解放感到欢欣鼓舞。 来自《简明英汉词典》
60 lasting IpCz02     
adj.永久的,永恒的;vbl.持续,维持
参考例句:
  • The lasting war debased the value of the dollar.持久的战争使美元贬值。
  • We hope for a lasting settlement of all these troubles.我们希望这些纠纷能获得永久的解决。
61 sumptuous Rqqyl     
adj.豪华的,奢侈的,华丽的
参考例句:
  • The guests turned up dressed in sumptuous evening gowns.客人们身着华丽的夜礼服出现了。
  • We were ushered into a sumptuous dining hall.我们被领进一个豪华的餐厅。
62 evoke NnDxB     
vt.唤起,引起,使人想起
参考例句:
  • These images are likely to evoke a strong response in the viewer.这些图像可能会在观众中产生强烈反响。
  • Her only resource was the sympathy she could evoke.她以凭借的唯一力量就是她能从人们心底里激起的同情。
63 vehemence 2ihw1     
n.热切;激烈;愤怒
参考例句:
  • The attack increased in vehemence.进攻越来越猛烈。
  • She was astonished at his vehemence.她对他的激昂感到惊讶。
64 chrysanthemums 1ded1ec345ac322f70619ba28233b570     
n.菊花( chrysanthemum的名词复数 )
参考例句:
  • The cold weather had most deleterious consequences among the chrysanthemums. 寒冷的天气对菊花产生了极有害的影响。 来自《简明英汉词典》
  • The chrysanthemums are in bloom; some are red and some yellow. 菊花开了, 有红的,有黄的。 来自《现代汉英综合大词典》
65 incarnating fe8c9604c13ddc4172b10be234febf03     
v.赋予(思想、精神等)以人的形体( incarnate的现在分词 );使人格化;体现;使具体化
参考例句:
  • So, the version incarnating spiritandappearance likeness can be ranked as the ideal one. “形神皆备”的译本,才是理想的译本。 来自互联网
  • It is soul that travels between creations incarnating into various forms to learn grow and evolve. 是灵魂在造物间旅行,投身到不同的形体中去学习、成长和进化。 来自互联网
66 annihilate Peryn     
v.使无效;毁灭;取消
参考例句:
  • Archer crumpled up the yellow sheet as if the gesture could annihilate the news it contained.阿切尔把这张黄纸揉皱,好象用这个动作就会抹掉里面的消息似的。
  • We should bear in mind that we have to annihilate the enemy.我们要把歼敌的重任时刻记在心上。
67 stifle cF4y5     
vt.使窒息;闷死;扼杀;抑止,阻止
参考例句:
  • She tried hard to stifle her laughter.她强忍住笑。
  • It was an uninteresting conversation and I had to stifle a yawn.那是一次枯燥无味的交谈,我不得不强忍住自己的呵欠。
68 raves eff15904ad1ff50e1a71642704afd6f7     
n.狂欢晚会( rave的名词复数 )v.胡言乱语( rave的第三人称单数 );愤怒地说;咆哮;痴心地说
参考例句:
  • She raves about that singer. 她醉心地谈论那位歌手。 来自辞典例句
  • His new play received raves in the paper. 他的新剧本在报纸上受到赞扬。 来自辞典例句
69 boundless kt8zZ     
adj.无限的;无边无际的;巨大的
参考例句:
  • The boundless woods were sleeping in the deep repose of nature.无边无际的森林在大自然静寂的怀抱中酣睡着。
  • His gratitude and devotion to the Party was boundless.他对党无限感激、无限忠诚。
70 refreshing HkozPQ     
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。
71 rejuvenating a7abb8ef3d5eaee8635ed4ad7e718bed     
使变得年轻,使恢复活力( rejuvenate的现在分词 )
参考例句:
  • The rejuvenating ambience of autumn is immeasurably more ancient than even the calendar. 秋天那让人恢复青春活力的气氛远比历法还要古老。 来自名作英译部分
  • Rhoda says that it's embarrassing to be so idolized, but also very sweet and rejuvenating. 罗达说,给人这样过份地崇拜是很发窘的,不过也是愉快惬意使人年轻的。
72 saner 3d0ae5c6cab45f094fb6af1ae9c6423f     
adj.心智健全的( sane的比较级 );神志正常的;明智的;稳健的
参考例句:
  • He seemed wiser than Hurstwood, saner and brighter than Drouet. 他看上去比赫斯渥明智,比杜洛埃稳舰聪明。 来自英汉文学 - 嘉莉妹妹
  • Such brooding didn't make him any saner. 然而,苦思冥想并没有使他头脑清醒。 来自辞典例句
73 renaissance PBdzl     
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。
74 onward 2ImxI     
adj.向前的,前进的;adv.向前,前进,在先
参考例句:
  • The Yellow River surges onward like ten thousand horses galloping.黄河以万马奔腾之势滚滚向前。
  • He followed in the steps of forerunners and marched onward.他跟随着先辈的足迹前进。
75 vice NU0zQ     
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的
参考例句:
  • He guarded himself against vice.他避免染上坏习惯。
  • They are sunk in the depth of vice.他们堕入了罪恶的深渊。
76 gratitude p6wyS     
adj.感激,感谢
参考例句:
  • I have expressed the depth of my gratitude to him.我向他表示了深切的谢意。
  • She could not help her tears of gratitude rolling down her face.她感激的泪珠禁不住沿着面颊流了下来。
77 remarkable 8Vbx6     
adj.显著的,异常的,非凡的,值得注意的
参考例句:
  • She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
  • These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。
78 dames 0bcc1f9ca96d029b7531e0fc36ae2c5c     
n.(在英国)夫人(一种封号),夫人(爵士妻子的称号)( dame的名词复数 );女人
参考例句:
  • Dames would not comment any further. Dames将不再更多的评论。 来自互联网
  • Flowers, candy, jewelry, seemed the principal things in which the elegant dames were interested. 鲜花、糖果和珠宝看来是那些贵妇人的主要兴趣所在。 来自英汉文学 - 嘉莉妹妹
79 belles 35634a17dac7d7e83a3c14948372f50e     
n.美女( belle的名词复数 );最美的美女
参考例句:
  • Every girl in Atlanta was knee deep in men,even the plainest girls were carrying on like belles. 亚特兰大的女孩子个个都有许多男人追求,就连最不出色的也像美人一样被男人紧紧缠住。 来自《简明英汉词典》
  • Even lot of belles, remand me next the United States! 还要很多美女,然后把我送回美国! 来自互联网
80 sublime xhVyW     
adj.崇高的,伟大的;极度的,不顾后果的
参考例句:
  • We should take some time to enjoy the sublime beauty of nature.我们应该花些时间去欣赏大自然的壮丽景象。
  • Olympic games play as an important arena to exhibit the sublime idea.奥运会,就是展示此崇高理念的重要舞台。
81 restrictions 81e12dac658cfd4c590486dd6f7523cf     
约束( restriction的名词复数 ); 管制; 制约因素; 带限制性的条件(或规则)
参考例句:
  • I found the restrictions irksome. 我对那些限制感到很烦。
  • a snaggle of restrictions 杂乱无章的种种限制
82 intonation ubazZ     
n.语调,声调;发声
参考例句:
  • The teacher checks for pronunciation and intonation.老师在检查发音和语调。
  • Questions are spoken with a rising intonation.疑问句是以升调说出来的。
83 intonations d98b1c7aeb4e25d2f25c883a2db70695     
n.语调,说话的抑扬顿挫( intonation的名词复数 );(演奏或唱歌中的)音准
参考例句:
  • Being able to say simple sentences in correct stresses and intonations. 能以正确的重音及语调说出简单的句子。 来自互联网
  • Peculiar intonations and interesting stories behind every character are what motivated Asmaa to start learning Chinese. 奇特的声调,有故事的汉字,让吴小莉在阴阳上去中、点横竖撇拉中开始了咿呀学语阶段。 来自互联网
84 corps pzzxv     
n.(通信等兵种的)部队;(同类作的)一组
参考例句:
  • The medical corps were cited for bravery in combat.医疗队由于在战场上的英勇表现而受嘉奖。
  • When the war broke out,he volunteered for the Marine Corps.战争爆发时,他自愿参加了海军陆战队。
85 annihilated b75d9b14a67fe1d776c0039490aade89     
v.(彻底)消灭( annihilate的过去式和过去分词 );使无效;废止;彻底击溃
参考例句:
  • Our soldiers annihilated a force of three hundred enemy troops. 我军战士消灭了300名敌军。 来自《现代汉英综合大词典》
  • We annihilated the enemy. 我们歼灭了敌人。 来自《简明英汉词典》
86 exuberant shkzB     
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。
87 portrayed a75f5b1487928c9f7f165b2773c13036     
v.画像( portray的过去式和过去分词 );描述;描绘;描画
参考例句:
  • Throughout the trial, he portrayed himself as the victim. 在审讯过程中,他始终把自己说成是受害者。
  • The author portrayed his father as a vicious drunkard. 作者把他父亲描绘成一个可恶的酒鬼。 来自《现代汉英综合大词典》
88 ostentation M4Uzi     
n.夸耀,卖弄
参考例句:
  • Choose a life of action,not one of ostentation.要选择行动的一生,而不是炫耀的一生。
  • I don't like the ostentation of their expensive life - style.他们生活奢侈,爱摆阔,我不敢恭维。
89 intoxication qq7zL8     
n.wild excitement;drunkenness;poisoning
参考例句:
  • He began to drink, drank himself to intoxication, till he slept obliterated. 他一直喝,喝到他快要迷糊地睡着了。
  • Predator: Intoxication-Damage over time effect will now stack with other allies. Predator:Intoxication,持续性伤害的效果将会与队友相加。
90 celebrity xcRyQ     
n.名人,名流;著名,名声,名望
参考例句:
  • Tom found himself something of a celebrity. 汤姆意识到自己已小有名气了。
  • He haunted famous men, hoping to get celebrity for himself. 他常和名人在一起, 希望借此使自己获得名气。
91 disillusions ab4ca8b69ba1d56d4bcfb3f976f18e40     
使不再抱幻想,使理想破灭( disillusion的第三人称单数 )
参考例句:
  • My life is full of disillusions. 我生活中充满了破灭的梦想。
92 majesty MAExL     
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!
93 memorable K2XyQ     
adj.值得回忆的,难忘的,特别的,显著的
参考例句:
  • This was indeed the most memorable day of my life.这的确是我一生中最值得怀念的日子。
  • The veteran soldier has fought many memorable battles.这个老兵参加过许多难忘的战斗。
94 temperament 7INzf     
n.气质,性格,性情
参考例句:
  • The analysis of what kind of temperament you possess is vital.分析一下你有什么样的气质是十分重要的。
  • Success often depends on temperament.成功常常取决于一个人的性格。
95 irony P4WyZ     
n.反语,冷嘲;具有讽刺意味的事,嘲弄
参考例句:
  • She said to him with slight irony.她略带嘲讽地对他说。
  • In her voice we could sense a certain tinge of irony.从她的声音里我们可以感到某种讥讽的意味。
96 lure l8Gz2     
n.吸引人的东西,诱惑物;vt.引诱,吸引
参考例句:
  • Life in big cities is a lure for many country boys.大城市的生活吸引着许多乡下小伙子。
  • He couldn't resist the lure of money.他不能抵制金钱的诱惑。
97 dwindled b4a0c814a8e67ec80c5f9a6cf7853aab     
v.逐渐变少或变小( dwindle的过去式和过去分词 )
参考例句:
  • Support for the party has dwindled away to nothing. 支持这个党派的人渐渐化为乌有。
  • His wealth dwindled to nothingness. 他的钱财化为乌有。 来自《简明英汉词典》
98 interpretations a61815f6fe8955c9d235d4082e30896b     
n.解释( interpretation的名词复数 );表演;演绎;理解
参考例句:
  • This passage is open to a variety of interpretations. 这篇文章可以有各种不同的解释。 来自《简明英汉词典》
  • The involved and abstruse passage makes several interpretations possible. 这段艰涩的文字可以作出好几种解释。 来自《现代汉英综合大词典》
99 interpretation P5jxQ     
n.解释,说明,描述;艺术处理
参考例句:
  • His statement admits of one interpretation only.他的话只有一种解释。
  • Analysis and interpretation is a very personal thing.分析与说明是个很主观的事情。
100 absurdity dIQyU     
n.荒谬,愚蠢;谬论
参考例句:
  • The proposal borders upon the absurdity.这提议近乎荒谬。
  • The absurdity of the situation made everyone laugh.情况的荒谬可笑使每个人都笑了。
101 discriminating 4umz8W     
a.有辨别能力的
参考例句:
  • Due caution should be exercised in discriminating between the two. 在区别这两者时应该相当谨慎。
  • Many businesses are accused of discriminating against women. 许多企业被控有歧视妇女的做法。
102 maturity 47nzh     
n.成熟;完成;(支票、债券等)到期
参考例句:
  • These plants ought to reach maturity after five years.这些植物五年后就该长成了。
  • This is the period at which the body attains maturity.这是身体发育成熟的时期。
103 indifference k8DxO     
n.不感兴趣,不关心,冷淡,不在乎
参考例句:
  • I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
  • He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。
104 tornado inowl     
n.飓风,龙卷风
参考例句:
  • A tornado whirled into the town last week.龙卷风上周袭击了这座城市。
  • The approaching tornado struck awe in our hearts.正在逼近的龙卷风使我们惊恐万分。
105 attained 1f2c1bee274e81555decf78fe9b16b2f     
(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。
106 dominion FmQy1     
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。
107 doom gsexJ     
n.厄运,劫数;v.注定,命定
参考例句:
  • The report on our economic situation is full of doom and gloom.这份关于我们经济状况的报告充满了令人绝望和沮丧的调子。
  • The dictator met his doom after ten years of rule.独裁者统治了十年终于完蛋了。
108 peculiar cinyo     
adj.古怪的,异常的;特殊的,特有的
参考例句:
  • He walks in a peculiar fashion.他走路的样子很奇特。
  • He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。
109 crumbling Pyaxy     
adj.摇摇欲坠的
参考例句:
  • an old house with crumbling plaster and a leaking roof 一所灰泥剥落、屋顶漏水的老房子
  • The boat was tied up alongside a crumbling limestone jetty. 这条船停泊在一个摇摇欲坠的石灰岩码头边。
110 minor e7fzR     
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修
参考例句:
  • The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
  • I gave him a minor share of my wealth.我把小部分财产给了他。
111 depressed xu8zp9     
adj.沮丧的,抑郁的,不景气的,萧条的
参考例句:
  • When he was depressed,he felt utterly divorced from reality.他心情沮丧时就感到完全脱离了现实。
  • His mother was depressed by the sad news.这个坏消息使他的母亲意志消沉。
112 loom T8pzd     
n.织布机,织机;v.隐现,(危险、忧虑等)迫近
参考例句:
  • The old woman was weaving on her loom.那位老太太正在织布机上织布。
  • The shuttle flies back and forth on the loom.织布机上梭子来回飞动。
113 boredom ynByy     
n.厌烦,厌倦,乏味,无聊
参考例句:
  • Unemployment can drive you mad with boredom.失业会让你无聊得发疯。
  • A walkman can relieve the boredom of running.跑步时带着随身听就不那么乏味了。
114 stolid VGFzC     
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。
115 lyric R8RzA     
n.抒情诗,歌词;adj.抒情的
参考例句:
  • This is a good example of Shelley's lyric poetry.这首诗是雪莱抒情诗的范例。
  • His earlier work announced a lyric talent of the first order.他的早期作品显露了一流的抒情才华。
116 discomfort cuvxN     
n.不舒服,不安,难过,困难,不方便
参考例句:
  • One has to bear a little discomfort while travelling.旅行中总要忍受一点不便。
  • She turned red with discomfort when the teacher spoke.老师讲话时她不好意思地红着脸。
117 mien oDOxl     
n.风采;态度
参考例句:
  • He was a Vietnam veteran with a haunted mien.他是个越战老兵,举止总有些惶然。
  • It was impossible to tell from his mien whether he was offended.从他的神态中难以看出他是否生气了。
118 enchanted enchanted     
adj. 被施魔法的,陶醉的,入迷的 动词enchant的过去式和过去分词
参考例句:
  • She was enchanted by the flowers you sent her. 她非常喜欢你送给她的花。
  • He was enchanted by the idea. 他为这个主意而欣喜若狂。
119 adventurous LKryn     
adj.爱冒险的;惊心动魄的,惊险的,刺激的 
参考例句:
  • I was filled with envy at their adventurous lifestyle.我很羨慕他们敢于冒险的生活方式。
  • He was predestined to lead an adventurous life.他注定要过冒险的生活。
120 bruit tSeyd     
v.散布;n.(听诊时所听到的)杂音;吵闹
参考例句:
  • The news was bruited through the town.消息已传遍全城。
  • Of course their conversation alters,and new themes are bruited.当然他们的谈话也改换题目了,新的话题也悄悄地谈开了。
121 stanza RFoyc     
n.(诗)节,段
参考例句:
  • We omitted to sing the second stanza.我们漏唱了第二节。
  • One young reporter wrote a review with a stanza that contained some offensive content.一个年轻的记者就歌词中包含有攻击性内容的一节写了评论。
122 abrupt 2fdyh     
adj.突然的,意外的;唐突的,鲁莽的
参考例句:
  • The river takes an abrupt bend to the west.这河突然向西转弯。
  • His abrupt reply hurt our feelings.他粗鲁的回答伤了我们的感情。
123 awe WNqzC     
n.敬畏,惊惧;vt.使敬畏,使惊惧
参考例句:
  • The sight filled us with awe.这景色使我们大为惊叹。
  • The approaching tornado struck awe in our hearts.正在逼近的龙卷风使我们惊恐万分。
124 sob HwMwx     
n.空间轨道的轰炸机;呜咽,哭泣
参考例句:
  • The child started to sob when he couldn't find his mother.孩子因找不到他妈妈哭了起来。
  • The girl didn't answer,but continued to sob with her head on the table.那个女孩不回答,也不抬起头来。她只顾低声哭着。
125 thickets bed30e7ce303e7462a732c3ca71b2a76     
n.灌木丛( thicket的名词复数 );丛状物
参考例句:
  • Small trees became thinly scattered among less dense thickets. 小树稀稀朗朗地立在树林里。 来自辞典例句
  • The entire surface is covered with dense thickets. 所有的地面盖满了密密层层的灌木丛。 来自辞典例句
126 homage eQZzK     
n.尊敬,敬意,崇敬
参考例句:
  • We pay homage to the genius of Shakespeare.我们对莎士比亚的天才表示敬仰。
  • The soldiers swore to pay their homage to the Queen.士兵们宣誓效忠于女王陛下。
127 deafening deafening     
adj. 振耳欲聋的, 极喧闹的 动词deafen的现在分词形式
参考例句:
  • The noise of the siren was deafening her. 汽笛声震得她耳朵都快聋了。
  • The noise of the machine was deafening. 机器的轰鸣声震耳欲聋。
128 wig 1gRwR     
n.假发
参考例句:
  • The actress wore a black wig over her blond hair.那个女演员戴一顶黑色假发罩住自己的金黄色头发。
  • He disguised himself with a wig and false beard.他用假发和假胡须来乔装。
129 fugitive bhHxh     
adj.逃亡的,易逝的;n.逃犯,逃亡者
参考例句:
  • The police were able to deduce where the fugitive was hiding.警方成功地推断出那逃亡者躲藏的地方。
  • The fugitive is believed to be headed for the border.逃犯被认为在向国境线逃窜。
130 smothered b9bebf478c8f7045d977e80734a8ed1d     
(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。
131 adumbration yKdyq     
n.预示,预兆
参考例句:
132 flair 87jyQ     
n.天赋,本领,才华;洞察力
参考例句:
  • His business skill complements her flair for design.他的经营技巧和她的设计才能相辅相成。
  • He had a natural flair for business.他有做生意的天分。
133 corporate 7olzl     
adj.共同的,全体的;公司的,企业的
参考例句:
  • This is our corporate responsibility.这是我们共同的责任。
  • His corporate's life will be as short as a rabbit's tail.他的公司的寿命是兔子尾巴长不了。
134 intelligible rbBzT     
adj.可理解的,明白易懂的,清楚的
参考例句:
  • This report would be intelligible only to an expert in computing.只有计算机运算专家才能看懂这份报告。
  • His argument was barely intelligible.他的论点不易理解。
135 isolated bqmzTd     
adj.与世隔绝的
参考例句:
  • His bad behaviour was just an isolated incident. 他的不良行为只是个别事件。
  • Patients with the disease should be isolated. 这种病的患者应予以隔离。
136 spoke XryyC     
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说
参考例句:
  • They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
  • The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。
137 gulf 1e0xp     
n.海湾;深渊,鸿沟;分歧,隔阂
参考例句:
  • The gulf between the two leaders cannot be bridged.两位领导人之间的鸿沟难以跨越。
  • There is a gulf between the two cities.这两座城市间有个海湾。
138 isolation 7qMzTS     
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。
139 spout uGmzx     
v.喷出,涌出;滔滔不绝地讲;n.喷管;水柱
参考例句:
  • Implication in folk wealth creativity and undertaking vigor spout.蕴藏于民间的财富创造力和创业活力喷涌而出。
  • This acts as a spout to drain off water during a rainstorm.在暴风雨季,这东西被用作喷管来排水。
140 monologues b54ccd8f001b9d8e09b1cb0a3d508b10     
n.(戏剧)长篇独白( monologue的名词复数 );滔滔不绝的讲话;独角戏
参考例句:
  • That film combines real testimonials with monologues read by actors. 电影中既有真人讲的真事,也有演员的独白。 来自互联网
  • Her monologues may help her make sense of her day. 她的独白可以帮助她让她一天的感觉。 来自互联网
141 crescendo 1o8zM     
n.(音乐)渐强,高潮
参考例句:
  • The gale reached its crescendo in the evening.狂风在晚上达到高潮。
  • There was a crescendo of parliamentary and press criticism.来自议会和新闻界的批评越来越多。
142 modulation mEixk     
n.调制
参考例句:
  • The soft modulation of her voice soothed the infant. 她柔和的声调使婴儿安静了。
  • Frequency modulation does not allow static to creep in. 频率调制不允许静电干扰混入。
143 brutality MSbyb     
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
144 plausible hBCyy     
adj.似真实的,似乎有理的,似乎可信的
参考例句:
  • His story sounded plausible.他说的那番话似乎是真实的。
  • Her story sounded perfectly plausible.她的说辞听起来言之有理。
145 catching cwVztY     
adj.易传染的,有魅力的,迷人的,接住
参考例句:
  • There are those who think eczema is catching.有人就是认为湿疹会传染。
  • Enthusiasm is very catching.热情非常富有感染力。
146 marvel b2xyG     
vi.(at)惊叹vt.感到惊异;n.令人惊异的事
参考例句:
  • The robot is a marvel of modern engineering.机器人是现代工程技术的奇迹。
  • The operation was a marvel of medical skill.这次手术是医术上的一个奇迹。
147 hissed 2299e1729bbc7f56fc2559e409d6e8a7     
发嘶嘶声( hiss的过去式和过去分词 ); 发嘘声表示反对
参考例句:
  • Have you ever been hissed at in the middle of a speech? 你在演讲中有没有被嘘过?
  • The iron hissed as it pressed the wet cloth. 熨斗压在湿布上时发出了嘶嘶声。
148 withering 8b1e725193ea9294ced015cd87181307     
使人畏缩的,使人害羞的,使人难堪的
参考例句:
  • She gave him a withering look. 她极其蔑视地看了他一眼。
  • The grass is gradually dried-up and withering and pallen leaves. 草渐渐干枯、枯萎并落叶。
149 blighting a9649818dde9686d12463120828d7504     
使凋萎( blight的现在分词 ); 使颓丧; 损害; 妨害
参考例句:
  • He perceived an instant that she did not know the blighting news. 他立即看出她还不知道这个失败的消息。
  • The stink of exhaust, the mind-numbing tedium of traffic, parking lots blighting central city real estate. 排气管散发的难闻气味;让人麻木的交通拥堵;妨碍中心城市房地产的停车场。
150 utterance dKczL     
n.用言语表达,话语,言语
参考例句:
  • This utterance of his was greeted with bursts of uproarious laughter.他的讲话引起阵阵哄然大笑。
  • My voice cleaves to my throat,and sob chokes my utterance.我的噪子哽咽,泣不成声。
151 exhausted 7taz4r     
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。
152 avenging 4c436498f794cbaf30fc9a4ef601cf7b     
adj.报仇的,复仇的v.为…复仇,报…之仇( avenge的现在分词 );为…报复
参考例句:
  • He has devoted the past five years to avenging his daughter's death. 他过去5年一心报丧女之仇。 来自辞典例句
  • His disfigured face was like some avenging nemesis of gargoyle design. 他那张破了相的脸,活象面目狰狞的复仇之神。 来自辞典例句
153 mediocre 57gza     
adj.平常的,普通的
参考例句:
  • The student tried hard,but his work is mediocre. 该生学习刻苦,但学业平庸。
  • Only lazybones and mediocre persons could hanker after the days of messing together.只有懒汉庸才才会留恋那大锅饭的年代。
154 preposterously 63c7147c29608334305c7aa25640733f     
adv.反常地;荒谬地;荒谬可笑地;不合理地
参考例句:
  • That is a preposterously high price! 那价格高得出奇! 来自辞典例句
155 extravagant M7zya     
adj.奢侈的;过分的;(言行等)放肆的
参考例句:
  • They tried to please him with fulsome compliments and extravagant gifts.他们想用溢美之词和奢华的礼品来取悦他。
  • He is extravagant in behaviour.他行为放肆。
156 poignant FB1yu     
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。
157 duel 2rmxa     
n./v.决斗;(双方的)斗争
参考例句:
  • The two teams are locked in a duel for first place.两个队为争夺第一名打得难解难分。
  • Duroy was forced to challenge his disparager to duel.杜洛瓦不得不向诋毁他的人提出决斗。
158 underlying 5fyz8c     
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。
159 rheumatism hDnyl     
n.风湿病
参考例句:
  • The damp weather plays the very devil with my rheumatism.潮湿的天气加重了我的风湿病。
  • The hot weather gave the old man a truce from rheumatism.热天使这位老人暂时免受风湿病之苦。
160 poignancy xOMx3     
n.辛酸事,尖锐
参考例句:
  • As she sat in church her face had a pathos and poignancy. 当她坐在教堂里时,脸上带着一种哀婉和辛辣的表情。
  • The movie, "Trains, Planes, and Automobiles" treats this with hilarity and poignancy. 电影“火车,飞机和汽车”是以欢娱和热情庆祝这个节日。
161 chuckle Tr1zZ     
vi./n.轻声笑,咯咯笑
参考例句:
  • He shook his head with a soft chuckle.他轻轻地笑着摇了摇头。
  • I couldn't suppress a soft chuckle at the thought of it.想到这个,我忍不住轻轻地笑起来。
162 tirade TJKzt     
n.冗长的攻击性演说
参考例句:
  • Her tirade provoked a counterblast from her husband.她的长篇大论激起了她丈夫的强烈反对。
  • He delivered a long tirade against the government.他发表了反政府的长篇演说。
163 subdued 76419335ce506a486af8913f13b8981d     
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。
164 culminated 2d1e3f978078666a2282742e3d1ca461     
v.达到极点( culminate的过去式和过去分词 )
参考例句:
  • a gun battle which culminated in the death of two police officers 一场造成两名警察死亡的枪战
  • The gala culminated in a firework display. 晚会以大放烟火告终。 来自《简明英汉词典》
165 accomplished UzwztZ     
adj.有才艺的;有造诣的;达到了的
参考例句:
  • Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
  • Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。
166 resuscitation hWhxC     
n.复活
参考例句:
  • Despite attempts at resuscitation,Mr Lynch died a week later in hospital.虽经全力抢救,但林奇先生一周以后还是在医院去世了。
  • We gave him mouth-to-mouth resuscitation and heart massage.我们对他进行了口对口复苏救治和心脏按摩。
167 bias 0QByQ     
n.偏见,偏心,偏袒;vt.使有偏见
参考例句:
  • They are accusing the teacher of political bias in his marking.他们在指控那名教师打分数有政治偏见。
  • He had a bias toward the plan.他对这项计划有偏见。
168 supreme PHqzc     
adj.极度的,最重要的;至高的,最高的
参考例句:
  • It was the supreme moment in his life.那是他一生中最重要的时刻。
  • He handed up the indictment to the supreme court.他把起诉书送交最高法院。
169 subservient WqByt     
adj.卑屈的,阿谀的
参考例句:
  • He was subservient and servile.他低声下气、卑躬屈膝。
  • It was horrible to have to be affable and subservient.不得不强作欢颜卖弄风骚,真是太可怕了。
170 descended guQzoy     
a.为...后裔的,出身于...的
参考例句:
  • A mood of melancholy descended on us. 一种悲伤的情绪袭上我们的心头。
  • The path descended the hill in a series of zigzags. 小路呈连续的之字形顺着山坡蜿蜒而下。
171 miraculous DDdxA     
adj.像奇迹一样的,不可思议的
参考例句:
  • The wounded man made a miraculous recovery.伤员奇迹般地痊愈了。
  • They won a miraculous victory over much stronger enemy.他们战胜了远比自己强大的敌人,赢得了非凡的胜利。
172 tranquil UJGz0     
adj. 安静的, 宁静的, 稳定的, 不变的
参考例句:
  • The boy disturbed the tranquil surface of the pond with a stick. 那男孩用棍子打破了平静的池面。
  • The tranquil beauty of the village scenery is unique. 这乡村景色的宁静是绝无仅有的。
173 evoked 0681b342def6d2a4206d965ff12603b2     
[医]诱发的
参考例句:
  • The music evoked memories of her youth. 这乐曲勾起了她对青年时代的回忆。
  • 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。
174 merged d33b2d33223e1272c8bbe02180876e6f     
(使)混合( merge的过去式和过去分词 ); 相融; 融入; 渐渐消失在某物中
参考例句:
  • Turf wars are inevitable when two departments are merged. 两个部门合并时总免不了争争权限。
  • The small shops were merged into a large market. 那些小商店合并成为一个大商场。
175 unwilling CjpwB     
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。
176 prey g1czH     
n.被掠食者,牺牲者,掠食;v.捕食,掠夺,折磨
参考例句:
  • Stronger animals prey on weaker ones.弱肉强食。
  • The lion was hunting for its prey.狮子在寻找猎物。
177 anguish awZz0     
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。
178 plied b7ead3bc998f9e23c56a4a7931daf4ab     
v.使用(工具)( ply的过去式和过去分词 );经常供应(食物、饮料);固定往来;经营生意
参考例句:
  • They plied me with questions about my visit to England. 他们不断地询问我的英国之行。 来自《简明英汉词典》
  • They plied us with tea and cakes. 他们一个劲儿地让我们喝茶、吃糕饼。 来自《简明英汉词典》
179 swerve JF5yU     
v.突然转向,背离;n.转向,弯曲,背离
参考例句:
  • Nothing will swerve him from his aims.什么也不能使他改变目标。
  • Her car swerved off the road into a 6ft high brick wall.她的车突然转向冲出了马路,撞向6英尺高的一面砖墙。
180 revelled 3945e33567182dd7cea0e01a208cc70f     
v.作乐( revel的过去式和过去分词 );狂欢;着迷;陶醉
参考例句:
  • The foreign guests revelled in the scenery of the lake. 外宾们十分喜爱湖上的景色。 来自辞典例句
  • He revelled in those moments of idleness stolen from his work. 他喜爱学习之余的闲暇时刻。 来自辞典例句
181 beckoned b70f83e57673dfe30be1c577dd8520bc     
v.(用头或手的动作)示意,召唤( beckon的过去式和过去分词 )
参考例句:
  • He beckoned to the waiter to bring the bill. 他招手示意服务生把账单送过来。
  • The seated figure in the corner beckoned me over. 那个坐在角落里的人向我招手让我过去。 来自《简明英汉词典》
182 semblance Szcwt     
n.外貌,外表
参考例句:
  • Her semblance of anger frightened the children.她生气的样子使孩子们感到害怕。
  • Those clouds have the semblance of a large head.那些云的形状像一个巨大的人头。
183 binds c1d4f6440575ef07da0adc7e8adbb66c     
v.约束( bind的第三人称单数 );装订;捆绑;(用长布条)缠绕
参考例句:
  • Frost binds the soil. 霜使土壤凝结。 来自《简明英汉词典》
  • Stones and cement binds strongly. 石头和水泥凝固得很牢。 来自《简明英汉词典》
184 joyous d3sxB     
adj.充满快乐的;令人高兴的
参考例句:
  • The lively dance heightened the joyous atmosphere of the scene.轻快的舞蹈给这场戏渲染了欢乐气氛。
  • They conveyed the joyous news to us soon.他们把这一佳音很快地传递给我们。
185 harmonious EdWzx     
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。


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