That autumn they went to the country, to the neighbourhood of Vallombrosa, and then to the Bagni di Lucca. There they wandered content in chestnut-forests, and gathered grapes at the vintage.
Early in the year Browning's "Poetical3 Works" were published in two volumes. Some of the most beautiful of his shorter poems are to be found therein. What a new note is struck throughout, what range of subject there is! Among them all, are there any more treasurable than two of the simplest, "Home Thoughts from Abroad" and "Night and Morning"?
"Oh, to be in England
Now that April's there,
And whoever wakes in England
Sees, some morning, unaware5,
That the lowest boughs6 and the brushwood sheaf
Round the elm-tree bole are in tiny leaf,
While the chaffinch sings on the orchard8 bough7
In England--now!
And after April, when May follows,
And the whitethroat builds, and all the swallows!
Hark, where my blossomed pear-tree in the hedge
Leans to the field and scatters9 on the clover
Blossoms and dewdrops--at the bent10 spray's edge--
That's the wise thrush; he sings each song twice over,
Lest you should think he never could recapture
The first fine careless rapture11!"
A more significant note is struck in "Meeting at Night" and "Parting at Morning."
MEETING.
I.
The grey sea and the long black land;
And the yellow half-moon large and low;
And the startled little waves that leap
In fiery12 ringlets from their sleep,
As I gain the cove13 with pushing prow14,
And quench15 its speed i' the slushy sand.
II.
Then a mile of warm sea-scented beach;
Three fields to cross till a farm appears;
A tap at the pane16, the quick sharp scratch
And blue spurt17 of a lighted match,
And a voice lass loud, through its joys and fears,
Than the two hearts beating each to each!
PARTING.
Round the cape18 of a sudden came the sea,
And the sun looked over the mountain's rim19:
And straight was a path of gold for him,
And the need of a world of men for me.
The following winter, when they were again at their Florentine home, Browning wrote his "Christmas Eve and Easter Day," that remarkable20 apologia for Christianity, and close-reasoned presentation of the religious thought of the time. It is, however, for this reason that it is so widely known and admired: for it is ever easier to attract readers by dogma than by beauty, by intellectual argument than by the seduction of art. Coincidently, Mrs. Browning wrote the first portion of "Casa Guidi Windows."
In the spring of 1850 husband and wife spent a short stay in Rome. I have been told that the poem entitled 'Two in the Campagna' was as actually personal as the already quoted "Guardian22 Angel." But I do not think stress should be laid on this and kindred localisations. Exact or not, they have no literary value. To the poet, the dramatic poet above all, locality and actuality of experience are, so to say, merely fortunate coigns of outlook, for the winged genius to temporally inhabit. To the imaginative mind, truth is not simply actuality. As for 'Two in the Campagna': it is too universally true to be merely personal. There is a gulf23 which not the profoundest search can fathom24, which not the strongest-winged love can overreach: the gulf of individuality. It is those who have loved most deeply who recognise most acutely this always pathetic and often terrifying isolation25 of the soul. None save the weak can believe in the absolute union of two spirits. If this were demonstratable, immortality26 would be a palpable fiction. The moment individuality can lapse28 to fusion29, that moment the tide has ebbed30, the wind has fallen, the dream has been dreamed. So long as the soul remains31 inviolate32 amid all shock of time and change, so long is it immortal27. No man, no poet assuredly, could love as Browning loved, and fail to be aware, often with vague anger and bitterness, no doubt, of this insuperable isolation even when spirit seemed to leap to spirit, in the touch of a kiss, in the evanishing sigh of some one or other exquisite33 moment. The poem tells us how the lovers, straying hand in hand one May day across the Campagna, sat down among the seeding grasses, content at first in the idle watching of a spider spinning her gossamer34 threads from yellowing fennel to other vagrant35 weeds. All around them
"The champaign with its endless fleece
Of feathery grasses everywhere!
Silence and passion, joy and peace,
An everlasting36 wash of air-- ...
"Such life here, through such length of hours,
Such miracles performed in play,
Such primal37 naked forms of flowers,
Such letting nature have her way." . . .
Let us too be unashamed of soul, the poet-lover says, even as earth lies bare to heaven. Nothing is to be overlooked. But all in vain: in vain "I drink my fill at your soul's springs."
"Just when I seemed about to learn!
Where is the thread now? off again!
The old trick! Only I discern--
Infinite passion, and the pain
Of finite hearts that yearn38."
It was during this visit to Rome that both were gratified by the proposal in the leading English literary weekly, that the Poet-Laureateship, vacant by the death of Wordsworth, should be conferred upon Mrs. Browning: though both rejoiced when they learned that the honour had devolved upon one whom each so ardently40 admired as Alfred Tennyson. In 1851 a visit was paid to England, not one very much looked forward to by Mrs. Browning, who had never had cause to yearn for her old home in Wimpole Street, and who could anticipate no reconciliation41 with her father, who had persistently42 refused even to open her letters to him, and had forbidden the mention of her name in his home circle.
Bayard Taylor, in his travel-sketches published under the title "At Home and Abroad," has put on record how he called upon the Brownings one afternoon in September, at their rooms in Devonshire Street, and found them on the eve of their return to Italy.
In his cheerful alertness, self-possession, and genial43 suavity44 Browning impressed him as an American rather than as an Englishman, though there can be no question but that no more thorough Englishman than the poet ever lived. It is a mistake, of course, to speak of him as a typical Englishman: for typical he was not, except in a very exclusive sense. Bayard Taylor describes him in reportorial fashion as being apparently45 about seven-and-thirty (a fairly close guess), with his dark hair already streaked46 with grey about the temples: with a fair complexion47, just tinged48 with faintest olive: eyes large, clear, and grey, and nose strong and well-cut, mouth full and rather broad, and chin pointed49, though not prominent: about the medium height, strong in the shoulders, but slender at the waist, with movements expressive50 of a combination of vigour51 and elasticity52. With due allowance for the passage of five-and-thirty years, this description would not be inaccurate53 of Browning the septuagenarian.
They did not return direct to Italy after all, but wintered in Paris with Robert Browning the elder, who had retired54 to a small house in a street leading off the Champs élysées. The pension he drew from the Bank of England was a small one, but, with what he otherwise had, was sufficient for him to live in comfort. The old gentleman's health was superb to the last, for he died in 1866 without ever having known a day's illness.
Spring came out and found them still in Paris, Mrs. Browning enthusiastic about Napoleon III. and interested in spiritualism: her husband serenely55 sceptical concerning both. In the summer they again went to London: but they appear to have seen more of Kenyon and other intimate friends than to have led a busy social life. Kenyon's friendship and good company never ceased to have a charm for both poets. Mrs. Browning loved him almost as a brother: her husband told Bayard Taylor, on the day when that good poet and charming man called upon them, and after another visitor had departed--a man with a large rosy56 face and rotund body, as Taylor describes him--"there goes one of the most splendid men living--a man so noble in his friendship, so lavish57 in his hospitality, so large-hearted and benevolent58, that he deserves to be known all over the world as Kenyon the Magnificent."
In the early autumn a sudden move towards Italy was again made, and after a few weeks in Paris and on the way the Brownings found themselves at home once more in Casa Guidi.
But before this, probably indeed before they had left Paris for London, Mr. Moxon had published the now notorious Shelley forgeries59. These were twenty-five spurious letters, but so cleverly manufactured that they at first deceived many people. In the preceding November Browning had been asked to write an introduction to them. This he had gladly agreed to do, eager as he was for a suitable opportunity of expressing his admiration60 for Shelley. When the letters reached him, he found that, genuine or not, though he never suspected they were forgeries, they contained nothing of particular import, nothing that afforded a just basis for what he had intended to say. Pledged as he was, however, to write something for Mr. Moxon's edition of the Letters, he set about the composition of an Essay, of a general as much as of an individual nature. This he wrote in Paris, and finished by the beginning of December. It dealt with the objective and subjective61 poet; on the relation of the latter's life to his work; and upon Shelley in the light of his nature, art, and character. Apart from the circumstance that it is the only independent prose writing of any length from Browning's pen, this is an exceptionally able and interesting production.
Dr. Furnivall deserves general gratitude62 for his obtaining the author's leave to re-issue it, and for having published it as one of the papers of the Browning Society. As that enthusiastic student and good friend of the poet says in his "foretalk" to the reprint, the essay is noteworthy, not merely as a signal service to Shelley's fame and memory, but for Browning's statement of his own aim in his own work, both as objective and subjective poet. The same clear-sightedness and impartial63 sympathy, which are such distinguishing characteristics of his dramatic studies of human thought and emotion, are obvious in Browning's Shelley essay. "It would be idle to enquire," he writes, "of these two kinds of poetic4 faculty64 in operation, which is the higher or even rarer endowment. If the subjective might seem to be the ultimate requirement of every age, the objective in the strictest state must still retain its original value. For it is with this world, as starting-point and basis alike, that we shall always have to concern ourselves; the world is not to be learned and thrown aside, but reverted65 to and reclaimed66."
Of its critical subtlety--the more remarkable as by a poet-critic who revered67 Shelley the poet and loved and believed in Shelley the man--the best example, perhaps, is in those passages where he alludes68 to the charge against the poet's moral nature--"charges which, if substantiated69 to their wide breadth, would materially disturb, I do not deny, our reception and enjoyment70 of his works, however wonderful the artistic71 qualities of these. For we are not sufficiently72 supplied with instances of genius of his order to be able to pronounce certainly how many of its constituent73 parts have been tasked and strained to the production of a given lie, and how high and pure a mood of the creative mind may be dramatically simulated as the poet's habitual74 and exclusive one."
The large charity, the liberal human sympathy, the keen critical acumen75 of this essay, make one wish that the author had spared us a "Sludge the Medium" or a "Pacchiarotto," or even a "Prince Hohenstiel-Schwangau," and given us more of such honourable76 work in "the other harmony."
Glad as the Brownings were to be home again at Casa Guidi, they could not enjoy the midsummer heats of Florence, and so went to the Baths of Lucca. It was a delight for them to ramble77 among the chestnut-woods of the high Tuscan forests, and to go among the grape-vines where the sunburnt vintagers were busy. Once Browning paid a visit to that remote hill-stream and waterfall, high up in a precipitous glen, where, more than three-score years earlier, Shelley had been wont78 to amuse himself by sitting naked on a rock in the sunlight, reading Herodotus while he cooled, and then plunging79 into the deep pool beneath him--to emerge, further up stream, and then climb through the spray of the waterfall till he was like a glittering human wraith80 in the middle of a dissolving rainbow.
Those Tuscan forests, that high crown of Lucca, must always have special associations for lovers of poetry. Here Shelley lived, rapt in his beautiful dreams, and translated the Symposium81 so that his wife might share something of his delight in Plato. Here, ten years later, Heine sneered82, and laughed and wept, and sneered again--drank tea with "la belle83 Irlandaise," flirted84 with Francesca "la ballerina," and wrote alternately with a feathered quill85 from the breast of a nightingale and with a lancet steeped in aquafortis: and here, a quarter of a century afterward86, Robert and Elizabeth Browning also laughed and wept and "joyed i' the sun," dreamed many dreams, and touched chords of beauty whose vibration87 has become incorporated with the larger rhythm of all that is high and enduring in our literature.
On returning to Florence (Browning with the MS. of the greater part of his splendid fragmentary tragedy, "In a Balcony," composed mainly while walking alone through the forest glades), Mrs. Browning found that the chill breath of the tramontana was affecting her lungs, so a move was made to Rome, for the passing of the winter (1853-4). In the spring their little boy, their beloved "Pen,"[22] became ill with malaria88. This delayed their return to Florence till well on in the summer. During this stay in Rome Mrs. Browning rapidly proceeded with "Aurora89 Leigh," and Browning wrote several of his "Men and Women," including the exquisite 'Love among the Ruins,' with its novel metrical music; 'Fra Lippo Lippi,' where the painter, already immortalised by Landor, has his third warrant of perpetuity; the 'Epistle of Karshish' (in part); 'Memorabilia' (composed on the Campagna); 'Saul,' a portion of which had been written and published ten years previously90, that noble and lofty utterance91, with its trumpet-like note of the regnant spirit; the concluding part of "In a Balcony;" and 'Holy Cross Day'--besides, probably, one or two others. In the late spring (April 27th) also, he wrote the short dactylic lyric92, 'Ben Karshook's Wisdom.' This little poem was given to a friend for appearance in one of the then popular Keepsakes--literally93 given, for Browning never contributed to magazines. The very few exceptions to this rule were the result of a kindliness94 stronger than scruple95: as when (1844), at request of Lord Houghton (then Mr. Monckton Milnes), he sent 'Tokay,' the 'Flower's Name,' and 'Sibrandus Schafnaburgensis,' to "help in making up some magazine numbers for poor Hood2, then at the point of death from hemorrhage of the lungs, occasioned by the enlargement of the heart, which had been brought on by the wearing excitement of ceaseless and excessive literary toil96." As 'Ben Karshook's Wisdom,' though it has been reprinted in several quarters, will not be found in any volume of Browning's works, and was omitted from "Men and Women" by accident, and from further collections by forgetfulness, it may be fitly quoted here. Karshook, it may be added, is the Hebraic word for a thistle.
I.
"'Would a man 'scape the rod'?--
Rabbi Ben Karshook saith,
'See that he turns to God
The day before his death.'
'Ay, could a man inquire
When it shall come!' I say.
The Rabbi's eye shoots fire--
'Then let him turn to-day!'
II.
Quoth a young Sadducee,--
'Reader of many rolls,
Is it so certain we
Have, as they tell us, souls?'--
'Son, there is no reply!'
The Rabbi bit his beard:
'Certain, a soul have I--
We may have none,' he sneer'd.
Thus Karshook, the Hiram's Hammer,
The Right-Hand Temple column,
Taught babes their grace in grammar,
And struck the simple, solemn."
[22] So-called, it is asserted, from his childish effort to pronounce a difficult name (Wiedemann). But despite the good authority for this statement, it is impossible not to credit rather the explanation given by Nathaniel Hawthorne, who, moreover, affords the practically definite proof that the boy was at first, as a term of endearment97, called "Pennini," which was later abbreviated98 to "Pen." The cognomen99, Hawthorne states, was a diminutive100 of "Apennino," which was bestowed101 upon the boy in babyhood because he was very small, there being a statue in Florence of colossal102 size called "Apennino."
It was in this year (1855) that "Men and Women" was published. It is difficult to understand how a collection comprising poems such as "Love among the Ruins," "Evelyn Hope," "Fra Lippo Lippi," "A Toccata of Galuppi's," "Any Wife to any Husband," "Master Hugues of Saxe-Gotha," "Andrea del Sarto," "In a Balcony," "Saul," "A Grammarian's Funeral," to mention only ten now almost universally known, did not at once obtain a national popularity for the author. But lovers of literature were simply enthralled103: and the two volumes had a welcome from them which was perhaps all the more ardent39 because of their disproportionate numbers. Ears alert to novel poetic music must have thrilled to the new strain which sounded first--"Love among the Ruins," with its Millet-like opening--
"Where the quiet-coloured end of evening smiles,
Miles and miles
On the solitary104 pastures where our sheep
Half asleep
Tinkle105 homeward through the twilight106, stray or stop
As they crop--
Was the site once of a city great and gay ..."
Soon after the return to Florence, which, hot as it was, was preferable in July to Rome, Mrs. Browning wrote to her frequent correspondent Miss Mitford, and mentioned that about four thousand lines of "Aurora Leigh" had been written. She added a significant passage: that her husband had not seen a single line of it up to that time--significant, as one of the several indications that the union of Browning and his wife was indeed a marriage of true minds, wherein nothing of the common bane of matrimonial life found existence. Moreover, both were artists, and, therefore, too full of respect for themselves and their art to bring in any way the undue107 influence of each other into play.
By the spring of 1856, however, the first six "books" were concluded: and these, at once with humility108 and pride, Mrs. Browning placed in her husband's hands. The remaining three books were written, in the summer, in John Kenyon's London house.
It was her best, her fullest answer to the beautiful dedicatory poem, "One Word More," wherewith her husband, a few months earlier, sent forth109 his "Men and Women," to be for ever associated with "E.B.B."
I.
"There they are, my fifty men and women
Naming me the fifty poems finished!
Take them, Love, the book and me together:
Where the heart lies, let the brain lie also.
. . . . . . . . . .
XVIII.
This I say of me, but think of you, Love!
This to you--yourself my moon of poets!
Ah, but that's the world's side, there's the wonder,
Thus they see you, praise you, think they know you!
There, in turn I stand with them and praise you--
Out of my own self, I dare to phrase it.
But the best is when I glide110 from out them,
Cross a step or two of dubious111 twilight,
Come out on the other side, the novel
Silent silver lights and darks undreamed of,
Where I hush112 and bless myself with silence."
The transference from Florence to London was made in May. In the summer "Aurora Leigh" was published, and met with an almost unparalleled success: even Landor, most exigent of critics, declared that he was "half drunk with it," that it had an imagination germane113 to that of Shakspere, and so forth.
The poem was dedicated114 to Kenyon, and on their homeward way the Brownings were startled and shocked to hear of his sudden death. By the time they had arrived at Casa Guidi again they learned that their good friend had not forgotten them in the disposition115 of his large fortune. To Browning he bequeathed six thousand, to Mrs. Browning four thousand guineas. This loss was followed early in the ensuing year (1857) by the death of Mr. Barrett, steadfast116 to the last in his refusal of reconciliation with his daughter.
Winters and summers passed happily in Italy--with one period of feverish117 anxiety, when the little boy lay for six weeks dangerously ill, nursed day and night by his father and mother alternately--with pleasant occasionings, as the companionship for a season of Nathaniel Hawthorne and his family, or of weeks spent at Siena with valued and lifelong friends, W.W. Story, the poet-sculptor, and his wife.
So early as 1858 Mrs. Hawthorne believed she saw the heralds118 of death in Mrs. Browning's excessive pallor and the hectic119 flush upon the cheeks, in her extreme fragility and weakness, and in her catching120, fluttering breath. Even the motion of a visitor's fan perturbed121 her. But "her soul was mighty122, and a great love kept her on earth a season longer. She was a seraph123 in her flaming worship of heart." "She lives so ardently," adds Mrs. Hawthorne, "that her delicate earthly vesture must soon be burnt up and destroyed by her soul of pure fire."
Yet, notwithstanding, she still sailed the seas of life, like one of those fragile argonauts in their shells of foam124 and rainbow-mist which will withstand the rude surge of winds and waves. But slowly, gradually, the spirit was o'erfretting its tenement125. With the waning126 of her strength came back the old passionate127 longing128 for rest, for quiescence129 from that "excitement from within," which had been almost over vehement130 for her in the calm days of her unmarried life.
It is significant that at this time Browning's genius was relatively131 dormant132. Its wings were resting for the long-sustained flight of "The Ring and the Book," and for earlier and shorter though not less royal aerial journeyings. But also, no doubt, the prolonged comparatively unproductive period of eight or nine years (1855-1864), between the publication of "Men and Women" and "Dramatis Person?," was due in some measure to the poet's incessant133 and anxious care for his wife, to the deep sorrow of witnessing her slow but visible passing away, and to the profound grief occasioned by her death. However, barrenness of imaginative creative activity can be only very relatively affirmed, even of so long a period, of years wherein were written such memorable134 and treasurable poems as 'James Lee's Wife,' among Browning's writings what 'Maud' is among Lord Tennyson's; 'Gold Hair: a Legend of Pornic;' 'Dis Aliter Visum;' 'Abt Vogler,' the most notable production of its kind in the language; 'A Death in the Desert,' that singular and impressive study; 'Caliban upon Setebos,' in its strange potency135 of interest and stranger poetic note, absolutely unique; 'Youth and Art;' 'Apparent Failure;' 'Prospice,' that noble lyrical defiance136 of death; and the supremely137 lofty and significant series of weighty stanzas138, 'Rabbi Ben Ezra,' the most quintessential of all the distinctively139 psychical140 monologues141 which Browning has written. It seems to me that if these two poems only, "Prospice" and "Rabbi Ben Ezra," were to survive to the day of Macaulay's New Zealander, the contemporaries of that meditative142 traveller would have sufficient to enable them to understand the great fame of the poet of "dim ancestral days," as the more acute among them could discern something of the real Shelley, though time had preserved but the three lines--
"Yet now despair itself is mild,
Even as the winds and waters are;
I could lie down like a tired child" . . .
something of the real Catullus, through the mists of remote antiquity143, if there had not perished the single passionate cry--
"Lesbia illa,
Illa Lesbia, quam Catullus unam
Plus quam se, atque suos amavit omnes!"
At the beginning of July (1858), the Brownings left Florence for the summer and autumn, and by easy stages travelled to Normandy. Here the invalid144 benefited considerably145 at first: and here, I may add, Browning wrote his 'Legend of Pornic,' 'Gold-Hair.' This poem of twenty-seven five-line stanzas (which differs only from that in more recent "Collected Works," and "Selections," in its lack of the three stanzas now numbered xxi., xxii., and xxiii.) was printed for limited private circulation, though primarily for the purpose of securing American copyright. Browning several times printed single poems thus, and for the same reasons--that is, either for transatlantic copyright, or when the verses were not likely to be included in any volume for a prolonged period. These leaflets or half-sheetlets of 'Gold Hair' and 'Prospice,' of 'Cleon' and 'The Statue and the Bust'--together with the "Two Poems by Elizabeth Barrett and Robert Browning," published, for benefit of a charity, in 1854--are among the rarest "finds" for the collector, and are literally worth a good deal more than their weight in gold.
In the tumultuous year of 1859 all Italy was in a ferment146. No patriot147 among the Nationalists was more ardent in her hopes than the delicate, too fragile, dying poetess, whose flame of life burned anew with the great hopes that animated148 her for her adopted country. Well indeed did she deserve, among the lines which the poet Tommaseo wrote and the Florence municipality caused to be engraved149 in gold upon a white marble slab150, to be placed upon Casa Guidi, the words fece del suo verso aureo anello fra Italia e Inghilterra--"who of her Verse made a golden link connecting England and Italy."
The victories of Solferino and San Martino made the bitterness of the disgraceful Treaty of Villafranca the more hard to bear. Even had we not Mr. Story's evidence, it would be a natural conclusion that this disastrous151 ending to the high hopes of the Italian patriots152 accelerated Mrs. Browning's death. The withdrawal153 of hope is often worse in its physical effects than any direct bodily ill.
It was a miserable154 summer for both husband and wife, for more private sorrows also pressed upon them. Not even the sweet autumnal winds blowing upon Siena wafted155 away the shadow that had settled upon the invalid: nor was there medicine for her in the air of Rome, where the winter was spent. A temporary relief, however, was afforded by the more genial climate, and in the spring of 1860 she was able, with Browning's help, to see her Italian patriotic156 poems through the press. It goes without saying that these "Poems before Congress" had a grudging157 reception from the critics, because they dared to hint that all was not roseate-hued in England. The true patriots are those who love despite blemishes158, not those who cherish the blemishes along with the virtues159. To hint at a flaw is "not to be an Englishman."
The autumn brought a new sadness in the death of Miss Arabella Barrett--a dearly loved sister, the "Arabel" of so many affectionate letters. Once more a winter in Rome proved temporally restorative. But at last the day came when she wrote her last poem--"North and South," a gracious welcome to Hans Christian21 Andersen on the occasion of his first visit to the Eternal City.
Early in June of 1861 the Brownings were once more at Casa Guidi. But soon after their return the invalid caught a chill. For a few days she hovered160 like a tired bird--though her friends saw only the seemingly unquenchable light in the starry161 eyes, and did not anticipate the silence that was soon to be.
By the evening of the 28th day of the month she was in sore peril162 of failing breath. All night her husband sat by her, holding her hand. Two hours before dawn she realised that her last breath would ere long fall upon his tear-wet face. Then, as a friend has told us, she passed into a state of ecstasy163: yet not so rapt therein but that she could whisper many words of hope, even of joy. With the first light of the new day, she leaned against her lover. Awhile she lay thus in silence, and then, softly sighing "It is beautiful!" passed like the windy fragrance164 of a flower.
点击
收听单词发音
收听单词发音 |
1
renewal
|
|
| adj.(契约)延期，续订，更新，复活，重来 | |
参考例句： |
|
|
|
|
2
hood
|
|
| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
参考例句： |
|
|
|
|
3
poetical
|
|
| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
参考例句： |
|
|
|
|
4
poetic
|
|
| adj.富有诗意的，有诗人气质的，善于抒情的 | |
参考例句： |
|
|
|
|
5
unaware
|
|
| a.不知道的，未意识到的 | |
参考例句： |
|
|
|
|
6
boughs
|
|
| 大树枝( bough的名词复数 ) | |
参考例句： |
|
|
|
|
7
bough
|
|
| n.大树枝，主枝 | |
参考例句： |
|
|
|
|
8
orchard
|
|
| n.果园，果园里的全部果树，(美俚)棒球场 | |
参考例句： |
|
|
|
|
9
scatters
|
|
| v.（使）散开， （使）分散，驱散( scatter的第三人称单数 )；撒 | |
参考例句： |
|
|
|
|
10
bent
|
|
| n.爱好，癖好；adj.弯的；决心的，一心的 | |
参考例句： |
|
|
|
|
11
rapture
|
|
| n.狂喜；全神贯注；着迷；v.使狂喜 | |
参考例句： |
|
|
|
|
12
fiery
|
|
| adj.燃烧着的，火红的；暴躁的；激烈的 | |
参考例句： |
|
|
|
|
13
cove
|
|
| n.小海湾，小峡谷 | |
参考例句： |
|
|
|
|
14
prow
|
|
| n.(飞机)机头，船头 | |
参考例句： |
|
|
|
|
15
quench
|
|
| vt.熄灭，扑灭；压制 | |
参考例句： |
|
|
|
|
16
pane
|
|
| n.窗格玻璃，长方块 | |
参考例句： |
|
|
|
|
17
spurt
|
|
| v.喷出；突然进发；突然兴隆 | |
参考例句： |
|
|
|
|
18
cape
|
|
| n.海角，岬；披肩，短披风 | |
参考例句： |
|
|
|
|
19
rim
|
|
| n.(圆物的)边，轮缘；边界 | |
参考例句： |
|
|
|
|
20
remarkable
|
|
| adj.显著的，异常的，非凡的，值得注意的 | |
参考例句： |
|
|
|
|
21
Christian
|
|
| adj.基督教徒的；n.基督教徒 | |
参考例句： |
|
|
|
|
22
guardian
|
|
| n.监护人；守卫者，保护者 | |
参考例句： |
|
|
|
|
23
gulf
|
|
| n.海湾；深渊，鸿沟；分歧，隔阂 | |
参考例句： |
|
|
|
|
24
fathom
|
|
| v.领悟，彻底了解 | |
参考例句： |
|
|
|
|
25
isolation
|
|
| n.隔离，孤立，分解，分离 | |
参考例句： |
|
|
|
|
26
immortality
|
|
| n.不死，不朽 | |
参考例句： |
|
|
|
|
27
immortal
|
|
| adj.不朽的；永生的，不死的；神的 | |
参考例句： |
|
|
|
|
28
lapse
|
|
| n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效 | |
参考例句： |
|
|
|
|
29
fusion
|
|
| n.溶化；熔解；熔化状态，熔和；熔接 | |
参考例句： |
|
|
|
|
30
ebbed
|
|
| （指潮水）退( ebb的过去式和过去分词 )； 落； 减少； 衰落 | |
参考例句： |
|
|
|
|
31
remains
|
|
| n.剩余物，残留物；遗体，遗迹 | |
参考例句： |
|
|
|
|
32
inviolate
|
|
| adj.未亵渎的，未受侵犯的 | |
参考例句： |
|
|
|
|
33
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
34
gossamer
|
|
| n.薄纱，游丝 | |
参考例句： |
|
|
|
|
35
vagrant
|
|
| n.流浪者，游民；adj.流浪的，漂泊不定的 | |
参考例句： |
|
|
|
|
36
everlasting
|
|
| adj.永恒的，持久的，无止境的 | |
参考例句： |
|
|
|
|
37
primal
|
|
| adj.原始的；最重要的 | |
参考例句： |
|
|
|
|
38
yearn
|
|
| v.想念；怀念；渴望 | |
参考例句： |
|
|
|
|
39
ardent
|
|
| adj.热情的，热烈的，强烈的，烈性的 | |
参考例句： |
|
|
|
|
40
ardently
|
|
| adv.热心地，热烈地 | |
参考例句： |
|
|
|
|
41
reconciliation
|
|
| n.和解，和谐，一致 | |
参考例句： |
|
|
|
|
42
persistently
|
|
| ad.坚持地；固执地 | |
参考例句： |
|
|
|
|
43
genial
|
|
| adj.亲切的，和蔼的，愉快的，脾气好的 | |
参考例句： |
|
|
|
|
44
suavity
|
|
| n.温和；殷勤 | |
参考例句： |
|
|
|
|
45
apparently
|
|
| adv.显然地；表面上，似乎 | |
参考例句： |
|
|
|
|
46
streaked
|
|
| adj.有条斑纹的，不安的v.快速移动( streak的过去式和过去分词 )；使布满条纹 | |
参考例句： |
|
|
|
|
47
complexion
|
|
| n.肤色；情况，局面；气质，性格 | |
参考例句： |
|
|
|
|
48
tinged
|
|
| v.（使）发丁丁声( ting的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
49
pointed
|
|
| adj.尖的，直截了当的 | |
参考例句： |
|
|
|
|
50
expressive
|
|
| adj.表现的，表达…的，富于表情的 | |
参考例句： |
|
|
|
|
51
vigour
|
|
| （=vigor）n.智力，体力，精力 | |
参考例句： |
|
|
|
|
52
elasticity
|
|
| n.弹性，伸缩力 | |
参考例句： |
|
|
|
|
53
inaccurate
|
|
| adj.错误的，不正确的，不准确的 | |
参考例句： |
|
|
|
|
54
retired
|
|
| adj.隐退的，退休的，退役的 | |
参考例句： |
|
|
|
|
55
serenely
|
|
| adv.安详地，宁静地，平静地 | |
参考例句： |
|
|
|
|
56
rosy
|
|
| adj.美好的，乐观的，玫瑰色的 | |
参考例句： |
|
|
|
|
57
lavish
|
|
| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
参考例句： |
|
|
|
|
58
benevolent
|
|
| adj.仁慈的，乐善好施的 | |
参考例句： |
|
|
|
|
59
forgeries
|
|
| 伪造( forgery的名词复数 )； 伪造的文件、签名等 | |
参考例句： |
|
|
|
|
60
admiration
|
|
| n.钦佩，赞美，羡慕 | |
参考例句： |
|
|
|
|
61
subjective
|
|
| a.主观(上)的，个人的 | |
参考例句： |
|
|
|
|
62
gratitude
|
|
| adj.感激，感谢 | |
参考例句： |
|
|
|
|
63
impartial
|
|
| adj.(in,to)公正的，无偏见的 | |
参考例句： |
|
|
|
|
64
faculty
|
|
| n.才能；学院，系；(学院或系的)全体教学人员 | |
参考例句： |
|
|
|
|
65
reverted
|
|
| 恢复( revert的过去式和过去分词 )； 重提； 回到…上； 归还 | |
参考例句： |
|
|
|
|
66
reclaimed
|
|
| adj.再生的；翻造的；收复的；回收的v.开拓( reclaim的过去式和过去分词 )；要求收回；从废料中回收（有用的材料）；挽救 | |
参考例句： |
|
|
|
|
67
revered
|
|
| v.崇敬，尊崇，敬畏( revere的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
68
alludes
|
|
| 提及，暗指( allude的第三人称单数 ) | |
参考例句： |
|
|
|
|
69
substantiated
|
|
| v.用事实支持（某主张、说法等），证明，证实( substantiate的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
70
enjoyment
|
|
| n.乐趣；享有；享用 | |
参考例句： |
|
|
|
|
71
artistic
|
|
| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
参考例句： |
|
|
|
|
72
sufficiently
|
|
| adv.足够地，充分地 | |
参考例句： |
|
|
|
|
73
constituent
|
|
| n.选民；成分，组分；adj.组成的，构成的 | |
参考例句： |
|
|
|
|
74
habitual
|
|
| adj.习惯性的；通常的，惯常的 | |
参考例句： |
|
|
|
|
75
acumen
|
|
| n.敏锐，聪明 | |
参考例句： |
|
|
|
|
76
honourable
|
|
| adj.可敬的；荣誉的，光荣的 | |
参考例句： |
|
|
|
|
77
ramble
|
|
| v.漫步，漫谈，漫游；n.漫步，闲谈，蔓延 | |
参考例句： |
|
|
|
|
78
wont
|
|
| adj.习惯于；v.习惯；n.习惯 | |
参考例句： |
|
|
|
|
79
plunging
|
|
| adj.跳进的，突进的v.颠簸( plunge的现在分词 )；暴跌；骤降；突降 | |
参考例句： |
|
|
|
|
80
wraith
|
|
| n.幽灵；骨瘦如柴的人 | |
参考例句： |
|
|
|
|
81
symposium
|
|
| n.讨论会，专题报告会；专题论文集 | |
参考例句： |
|
|
|
|
82
sneered
|
|
| 讥笑，冷笑( sneer的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
83
belle
|
|
| n.靓女 | |
参考例句： |
|
|
|
|
84
flirted
|
|
| v.调情，打情骂俏( flirt的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
85
quill
|
|
| n.羽毛管；v.给（织物或衣服）作皱褶 | |
参考例句： |
|
|
|
|
86
afterward
|
|
| adv.后来；以后 | |
参考例句： |
|
|
|
|
87
vibration
|
|
| n.颤动，振动；摆动 | |
参考例句： |
|
|
|
|
88
malaria
|
|
| n.疟疾 | |
参考例句： |
|
|
|
|
89
aurora
|
|
| n.极光 | |
参考例句： |
|
|
|
|
90
previously
|
|
| adv.以前，先前（地） | |
参考例句： |
|
|
|
|
91
utterance
|
|
| n.用言语表达，话语，言语 | |
参考例句： |
|
|
|
|
92
lyric
|
|
| n.抒情诗，歌词；adj.抒情的 | |
参考例句： |
|
|
|
|
93
literally
|
|
| adv.照字面意义，逐字地；确实 | |
参考例句： |
|
|
|
|
94
kindliness
|
|
| n.厚道，亲切，友好的行为 | |
参考例句： |
|
|
|
|
95
scruple
|
|
| n./v.顾忌，迟疑 | |
参考例句： |
|
|
|
|
96
toil
|
|
| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
参考例句： |
|
|
|
|
97
endearment
|
|
| n.表示亲爱的行为 | |
参考例句： |
|
|
|
|
98
abbreviated
|
|
| adj. 简短的，省略的 动词abbreviate的过去式和过去分词 | |
参考例句： |
|
|
|
|
99
cognomen
|
|
| n.姓；绰号 | |
参考例句： |
|
|
|
|
100
diminutive
|
|
| adj.小巧可爱的，小的 | |
参考例句： |
|
|
|
|
101
bestowed
|
|
| 赠给，授予( bestow的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
102
colossal
|
|
| adj.异常的，庞大的 | |
参考例句： |
|
|
|
|
103
enthralled
|
|
| 迷住，吸引住( enthrall的过去式和过去分词 )； 使感到非常愉快 | |
参考例句： |
|
|
|
|
104
solitary
|
|
| adj.孤独的，独立的，荒凉的；n.隐士 | |
参考例句： |
|
|
|
|
105
tinkle
|
|
| vi.叮当作响；n.叮当声 | |
参考例句： |
|
|
|
|
106
twilight
|
|
| n.暮光，黄昏；暮年，晚期，衰落时期 | |
参考例句： |
|
|
|
|
107
undue
|
|
| adj.过分的；不适当的；未到期的 | |
参考例句： |
|
|
|
|
108
humility
|
|
| n.谦逊，谦恭 | |
参考例句： |
|
|
|
|
109
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
110
glide
|
|
| n./v.溜，滑行；(时间)消逝 | |
参考例句： |
|
|
|
|
111
dubious
|
|
| adj.怀疑的，无把握的；有问题的，靠不住的 | |
参考例句： |
|
|
|
|
112
hush
|
|
| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
参考例句： |
|
|
|
|
113
germane
|
|
| adj.关系密切的，恰当的 | |
参考例句： |
|
|
|
|
114
dedicated
|
|
| adj.一心一意的；献身的；热诚的 | |
参考例句： |
|
|
|
|
115
disposition
|
|
| n.性情，性格；意向，倾向；排列，部署 | |
参考例句： |
|
|
|
|
116
steadfast
|
|
| adj.固定的，不变的，不动摇的；忠实的；坚贞不移的 | |
参考例句： |
|
|
|
|
117
feverish
|
|
| adj.发烧的，狂热的，兴奋的 | |
参考例句： |
|
|
|
|
118
heralds
|
|
| n.使者( herald的名词复数 )；预报者；预兆；传令官v.预示( herald的第三人称单数 )；宣布（好或重要） | |
参考例句： |
|
|
|
|
119
hectic
|
|
| adj.肺病的；消耗热的；发热的；闹哄哄的 | |
参考例句： |
|
|
|
|
120
catching
|
|
| adj.易传染的，有魅力的，迷人的，接住 | |
参考例句： |
|
|
|
|
121
perturbed
|
|
| adj.烦燥不安的v.使（某人）烦恼，不安( perturb的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
122
mighty
|
|
| adj.强有力的；巨大的 | |
参考例句： |
|
|
|
|
123
seraph
|
|
| n.六翼天使 | |
参考例句： |
|
|
|
|
124
foam
|
|
| v./n.泡沫，起泡沫 | |
参考例句： |
|
|
|
|
125
tenement
|
|
| n.公寓；房屋 | |
参考例句： |
|
|
|
|
126
waning
|
|
| adj.（月亮）渐亏的，逐渐减弱或变小的n.月亏v.衰落( wane的现在分词 )；（月）亏；变小；变暗淡 | |
参考例句： |
|
|
|
|
127
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： |
|
|
|
|
128
longing
|
|
| n.（for）渴望 | |
参考例句： |
|
|
|
|
129
quiescence
|
|
| n.静止 | |
参考例句： |
|
|
|
|
130
vehement
|
|
| adj.感情强烈的；热烈的；(人)有强烈感情的 | |
参考例句： |
|
|
|
|
131
relatively
|
|
| adv.比较...地，相对地 | |
参考例句： |
|
|
|
|
132
dormant
|
|
| adj.暂停活动的；休眠的；潜伏的 | |
参考例句： |
|
|
|
|
133
incessant
|
|
| adj.不停的，连续的 | |
参考例句： |
|
|
|
|
134
memorable
|
|
| adj.值得回忆的，难忘的，特别的，显著的 | |
参考例句： |
|
|
|
|
135
potency
|
|
| n. 效力，潜能 | |
参考例句： |
|
|
|
|
136
defiance
|
|
| n.挑战，挑衅，蔑视，违抗 | |
参考例句： |
|
|
|
|
137
supremely
|
|
| adv.无上地，崇高地 | |
参考例句： |
|
|
|
|
138
stanzas
|
|
| 节，段( stanza的名词复数 ) | |
参考例句： |
|
|
|
|
139
distinctively
|
|
| adv.特殊地，区别地 | |
参考例句： |
|
|
|
|
140
psychical
|
|
| adj.有关特异功能现象的；有关特异功能官能的；灵魂的；心灵的 | |
参考例句： |
|
|
|
|
141
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： |
|
|
|
|
142
meditative
|
|
| adj.沉思的，冥想的 | |
参考例句： |
|
|
|
|
143
antiquity
|
|
| n.古老；高龄；古物，古迹 | |
参考例句： |
|
|
|
|
144
invalid
|
|
| n.病人，伤残人；adj.有病的，伤残的；无效的 | |
参考例句： |
|
|
|
|
145
considerably
|
|
| adv.极大地；相当大地；在很大程度上 | |
参考例句： |
|
|
|
|
146
ferment
|
|
| vt.使发酵；n./vt.（使）激动，（使）动乱 | |
参考例句： |
|
|
|
|
147
patriot
|
|
| n.爱国者，爱国主义者 | |
参考例句： |
|
|
|
|
148
animated
|
|
| adj.生气勃勃的，活跃的，愉快的 | |
参考例句： |
|
|
|
|
149
engraved
|
|
| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
参考例句： |
|
|
|
|
150
slab
|
|
| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
参考例句： |
|
|
|
|
151
disastrous
|
|
| adj.灾难性的，造成灾害的；极坏的，很糟的 | |
参考例句： |
|
|
|
|
152
patriots
|
|
| 爱国者，爱国主义者( patriot的名词复数 ) | |
参考例句： |
|
|
|
|
153
withdrawal
|
|
| n.取回，提款；撤退，撤军；收回，撤销 | |
参考例句： |
|
|
|
|
154
miserable
|
|
| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
参考例句： |
|
|
|
|
155
wafted
|
|
| v.吹送，飘送，（使）浮动( waft的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
156
patriotic
|
|
| adj.爱国的，有爱国心的 | |
参考例句： |
|
|
|
|
157
grudging
|
|
| adj.勉强的，吝啬的 | |
参考例句： |
|
|
|
|
158
blemishes
|
|
| n.（身体的）瘢点( blemish的名词复数 )；伤疤；瑕疵；污点 | |
参考例句： |
|
|
|
|
159
virtues
|
|
| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
参考例句： |
|
|
|
|
160
hovered
|
|
| 鸟( hover的过去式和过去分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
参考例句： |
|
|
|
|
161
starry
|
|
| adj.星光照耀的, 闪亮的 | |
参考例句： |
|
|
|
|
162
peril
|
|
| n.(严重的)危险；危险的事物 | |
参考例句： |
|
|
|
|
163
ecstasy
|
|
| n.狂喜，心醉神怡，入迷 | |
参考例句： |
|
|
|
|
164
fragrance
|
|
| n.芬芳，香味，香气 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |