After the coronation dinner of Richard II., the remainder of the day was spent in rejoicings, and we are told how the King, the prelates, the nobles, the knights9, and the rest of the company danced in Westminster Hall to the music of the minstrels. Several of our English monarchs12 were noted13 for their skill in dancing, and none, perhaps, more than Henry VIII., who was particularly partial to this{100} mode of diversion. At this period, when masques and pageants14 were much in vogue15, the King himself was occasionally “a frequent performer as well as spectator,” and numerous anecdotes16 have been handed down of his dancing feats17. Thus, at the festivities held at Westminster in honour of the birth of a prince on New Year’s Day 1511, the King and a selected company danced before Catherine’s throne, executing their stately pavons and “corantos high” with the utmost success; at the conclusion of which the young King bade the lady spectators come forward and pluck the golden letters and devices from his dress, and that of his company. An unlooked-for incident followed, for a vast crowd of the London populace, who were the constant witnesses of the Court ceremonials in the middle ages, rushed forth18 and plucked off with startling rapidity the glittering ornaments19 from himself, and his noble guests. Not only were the ladies despoiled20 of their jewels, but the King himself was stripped to his doublet and drawers. The King, laughing heartily21, took the matter in good part, and treated the whole scramble22 as a frolic, remarking that “they must consider their losses as largess to the commonalty.”[46]
Catherine of Aragon excelled in Spanish dances, and at the festivities in honour of her marriage with Prince Arthur—her short-lived bridegroom—apparelled in Spanish garb23, she gave an exhibition of her high proficiency24 in this mode of dancing. On this occasion, too, the dancing of Henry Duke of{101} York and his sister, Lady Margaret, the young Queen of Scots, gave such satisfaction that it was renewed, when the young Duke, finding himself encumbered25 with his dress, “suddenly threw off his robe and danced in his jacket with the said Lady Margaret, in so good and pleasant a manner that it was to King Henry and Queen Elizabeth great and singular pleasure.”
Again, on New Year’s Day 1515, Henry VIII. performed a ballet with the Duke of Suffolk and two noblemen and four ladies, the young Duchess of Savoy being supposed to be in love with Suffolk. After dancing had been continued for some time, the company took off their vizors, and when they were known, “the Queen heartily thanked the King’s grace for her good pastime, and kissed him.” But on the very day this ballet was performed the King of France died, and his fair bride was left a widow, after having been married less than three months.
Another interesting instance of Court dances at this time is given by Hall, who tells how, on the King’s visit to France with Anne Boleyn—lately made Marchioness of Pembroke—a magnificent reception was given by him at Calais in honour of the French sovereign, at which, after supper, “came in the Marchioness of Pembroke, with seven ladies, in masking apparel of strange fashion, made of cloth of gold, slashed27 with crimson28 tinsel satin puffed29 with cloth of silver and knit with laces of gold. These ladies were led into the state chamber30 by four damsels dressed in crimson satin, with tabards of{102} pine cypress31. Then the lady marchioness took the French king, the Countess of Derby the King of Navarre, and every lady took a lord. In dancing, King Henry removed the ladies’ vizors, so that their beauties were shown.” It was then discovered by the French king that he had been dancing with an old acquaintance—no other than the lovely English maid-of-honour of his first queen; and having conversed32 with her some time apart, he sent her a present on the next morning of a jewel valued at 15,000 crowns.
Queen Elizabeth was a great patroness of the dance, which accounts for its having flourished in her reign26. It is said that she bestowed33 the office of Lord Chancellor35 on Sir Christopher Hatton, not so much for his knowledge of the law, but because he wore green bows on his shoes, and danced the pavon to perfection, to whom mention is made in Gray’s humorous lines:—
“Full oft within the spacious36 walls,
When he had fifty winters over him,
My grave Lord Keeper led the brawls38,
The seals and maces danced before him.
His bushy head, and shoe strings39 green,
His high-crown’d hat and satin doublet,
Moved the stout40 heart of England’s queen,
Tho’ Pope and Spaniard could not trouble it.”
Many notices occur, too, of Queen Mary’s participation41 in the revelry of her father’s court, and we find her figuring, in her young days, as a dancer in Court ballets. Some courtly adulator42, who had been present at a ball at which many danced with{103} her royal father, appears to have been much struck with her charms, making her appearance the subject of a poetic43 effusion, wherein he tells us:—
“Ravished I was, that well was me
O Lord! to me so fain [willing]
To see that sight that I did see,
I long full sore again.
I saw a king and a princess
Dancing before my face,
Most like a god and a goddess;
I pray Christ save their grace.”
Charles II. was specially44 fond of dancing. Writing from Cologne to Henry Bennett on the 18th of August 1655, he says: “Pray, get me pricked45 down as many new corrants and farrabands, and ‘other little dances’ as you can, and bring them with you, for I have got a small fiddler that does not play ill on the fiddle46.”
The last day of the year 1662 concluded with a grand ball at the palace of Whitehall, and Pepys tells us that he got into the room where the dancing was to take place, which was crowded with fine ladies. “By-and-by comes the King and Queen and all the great ones. After seating themselves, all rose again; the King took out the Duchess of York, the Duke the Duchess of Buckingham, the Duke of Monmouth my Lady Castlemaine, other lords other ladies, and they danced ‘the brantle.’ Afterwards the King led a lady a single coranto, and then the lords, one after another, other ladies; very noble it was, and pleasant to see. Then to country-dances, the King leading the first, which he{104} called for by name as ‘Cuckolds all awry,’ the old dance of England. The manner was, when the King dances, all the ladies in the room, and the Queen herself, stand up; and, indeed, he dances rarely, and much better than the Duke of York.” Pepys adds that it was reported the King reprimanded Lady Gerard as he was leading her down the dance, for having spoken against Lady Castlemaine to the Queen, and forbade her to attend her Majesty47 any more.
Pepys, too, gives a graphic48 account of a ball given at Whitehall, in the year 1666, to celebrate the Queen’s birthday, on which occasion he contrived49 to climb up to a loft50, where he obtained a view of the festive51 scene, which he thus describes: “It was indeed a glorious sight to see Mrs. Stuart in black and white lace, and her head and shoulders dressed with diamonds, only the Queen none (as she was in mourning for her mother), and the King in his rich vest of some rich silk and silver trimming; the Duke of York and all the other dancers wore cloth of silver. Presently, after the King was come in he took the Queen, and about fourteen more couple there were, and began the brantle. After the brantles a corant, and now and then a French dance: but that so rare, that the corants grew tiresome52, and I wished it done, only Mrs. Stuart danced mighty53 fine; and many French dances, especially one the King called ‘the new dance,’ which was very pretty. But, upon the whole, the business of the dancing itself was not extraordinary pleasing. About twelve at night it broke up.{105}” Indeed, Queen Catherine is said to have been childishly attached to dancing, and in some verses, entitled “The Queen’s Ball,” published in the State Poems, she is styled:—
“Ill-natured little goblin, and designed
For nothing but to dance and vex54 mankind.”
Pepys further tells us how he was admitted by his acquaintance, Lady Peterborough, into the apartments of the Duchess of York at Whitehall when the young Mary Stuart was taking her dancing lesson, which incident he thus describes: “Stepping to the Duchess of York’s side to speak to my Lady Peterborough, I did see the young Duchess, a little child in hanging sleeves, dance most finely, so as almost to ravish me, her ear is so good, taught by a Frenchman that did heretofore teach King Charles II. and all the royal family, and the Queen-mother herself, who do still dance well.”
It may be added that the first introduction of the royal sisters, Mary and Anne, was their performance of a ballet, written for them by the poet Crowne, called “Calista, or the Chaste55 Nymph,” acted December 2, 1674. They were trained for this performance by Mrs. Betterton, the principal actress at the King’s Theatre, the ballet being remarkable56 for the future historical parts of the performers. The Lady Mary of York was the heroine, Calista; her sister the Lady Anne, Nyphe; Lady Harriet Wentworth performed Jupiter. The epilogue was written by Dryden, and addressed to Charles II.{106}
In after years, when Mary assumed the burden of regal dignity, she was exposed to the malevolent57 misinterpretation of a Court to which she was almost as much a stranger as was her husband himself. She was considered too fond of the frivolous58 gaieties from which in truth she shrank, and she writes: “The world who cannot see the heart ... began to take notice of the change that was in my life, and comparing my way of living in Holland to that here, were much scandalised to see me grown so remiss59.” But this kind of criticism, which was unjust, did not prevent her pursuing the course she considered right; and although on the King’s birthday in 1689 a ball was given at her desire, she tells us:—
“I really thought it no proper time, when war was round about, and my father himself engaged against us.... Yet such is the depravation of this age and place where I live, none seems to think of such things, and so, ill-custom prevailing60, there was a ball, but by my writings may be seen how I endeavoured to spend that day as also the next, which was Gunpowder61 Treason, God be praised for it.”
The following particulars of a grand ball given at Marli in July 1705, at which the royal exiles of St. Germains were present, is a proof of the respectful consideration with which they were treated by Louis XIV. At the upper end of the saloon in which the ball took place were placed three fauteuils for the King of France, the widowed Queen of England, and her son—Mary Beatrice,{107} as in the lifetime of her royal consort62, occupying the centre seat. The titular63 King of England opened the ball with his sister, the King of France standing64 all the time they were dancing. This mark of respect, it is said, he would have done every time the young royal pair danced together, had not Mary Beatrice induced him to be seated; and even then it was not till he had paid them this token of regard twice or thrice that he would consent to sit down.
The introduction in the Russian Court of foreign dances coincided with the adoption65 of foreign dress and other customs; hence in the time of Peter the Great ignorance of the minuet, or of Polish and English dances, was looked upon as a serious defect in education. During the latter part of her life the Empress Anne was fond of listening to the jests of her buffoons66. At the conclusion of these exhibitions her maids of honour would sing to her, and occasionally she would watch them dance. One day, according to the “Memoirs of the Princess Daschkov,” she commanded four of the principal beauties of St. Petersburg to perform a Russian dance before her. But they became so nervous at the stern glance of the Empress that, losing all presence of mind, they forgot the figure of the dance, and amidst the general confusion were electrified67 by the approach of her Majesty, who, advancing towards them in a fit of rage, gave each a sound box on the ear, and ordered them instantly to begin over again, which they did, half dead with{108} fear.[47] The Empress Elizabeth was an accomplished68 dancer, and in order to see the minuet danced to perfection it was commonly said one should go to the Russian Court. Catherine II. was very fond of the ballet, and gave it every possible encouragement, taking an active pleasure in most kinds of pantomimic ballet. Amongst some of the many anecdotes told of this sovereign, it is related how she treated her maids of honour almost as if they were her own daughters. Noticing one day that Freiline Potocka, who had lately come to the Court, had no pearls, she immediately seized the opportunity of a fancy dress ball, to which the girl came in the disguise of a milkmaid, in order to slip a superb necklace into the pail that she had put down whilst dancing. “It is you, madame, ... it is your Majesty,” she stammered70 on discovering the present. “No!” replied the Empress, “the milk has curdled71.”[48]
In the year 1798 a curious and most imposing72 ballet was given at Court in honour of the Czarina and the Grand Duke. It was called “The Conquered Prejudice,” and was of a most elaborate character, the most imposing stage effects being introduced. And, coming down to recent years, Théophile Gautier, describing the opening of a Court ball in 1866, tells how the spectators in the ball-room of the Winter Palace separated so as to leave free a pathway of which they formed the{109} hedges. Every one in position, the orchestra played a majestic73 air, and with slow steps the promenade74 began, led by the Emperor giving his hand to some lady whom he was desirous of honouring. They were followed by the rest of the Court, all according to precedence, and gradually “the cortège of brilliant uniforms goes on increasing: a nobleman leaves the hedge and takes a lady by the hand, and this new couple take their place in the procession, keeping step by step with the leader. And what adds to the originality75 of the Russian Court is, that from time to time a young Circassian prince in his fastidious Oriental dress, or a Mongolian officer, will join the cortège.”
Portuguese76 dances having long been famous, it is not surprising that at most Court festivals dancing was in high repute. King Dom Pedro I. is reported to have been a great votary77 of the dance, and the Portuguese historian, Fer?ao Lopes, tells how, mad with sorrow at the loss of his wife, Inez de Castro, he would in the weary hours of nighttime, as he lay sleepless78, order a troop of soldiers “to form a hedge from his palace, and to hold lighted torches that he might dance between them, and thus give bodily expression to the vehemence79 of his grief.”[49] But a monarch11 who degraded and brought dancing into the lowest repute was Alfonso VI.—a wicked and unscrupulous sovereign, whose conduct, as already noted, seemed to savour of insanity80. Thus, when his country was in the greatest peril81, he indulged in every kind{110} of infamy82. While his soldiers and his English allies[50] were spilling their blood in defence of his dominions83, he devoted84 his time to ruin himself and his country. His palace, it is said, “particularly his residence at Alcantara, afforded a scene at which the most immodest might blush.” He violated the nunneries, assailed85 the affrighted sisters with rough wooing, and at once terrified and disgusted them by fitting up a stage in the choir86 of the church at Alcantara, on which he not only had theatrical87 performances and unseemly dances, “but compelled the unhappy nuns88 to honour them with their presence.” This was a pleasing spectacle for a responsible ruler, and one well worthy89 of the days of a Nero. But one of his successors on the throne—John V.—was of a very different turn of mind; for although a munificent90 patron of literature and the fine arts—founding the Academy of History at Lisbon—he was a great lover of music and the theatre, and spent large sums in importing singers and dancers from Italy, and actors from France.
Dancing was a monomania with Philip III. of Spain and Portugal, and his Prime Minister distinguished91 himself as the best dancer of his time—the result being that the whole aristocracy of Spain and Portugal became affected92 by the dancing rage, which was ridiculed93 by Manuel de Mello.
The wife of Ferdinand VI. of Spain, the Infanta of Portugal, was haunted by the fear of death and{111} of poverty—apprehensions which she tried to conquer by the extravagant95 indulgence of a passion for music and dancing. With this melancholy96, and oppressed by asthma97 and unwieldy corpulency, she could scarcely have been a very graceful98 dancer, for M. de Noailles said of her, “Son visage est tel qu’on ne peut la regarder sans peine.”
A romantic tale is told of Queen Joan of Naples, who, at a magnificent feast given in her castle of Gaeta, gave her hand to Galeazzo of Mantua for the purpose of opening the ball. At the conclusion of the dance the gallant99 knight10 knelt down before his royal partner, and, as an acknowledgment of the honour conferred upon him, he made a solemn vow not to rest until he had subdued100 two valiant101 knights, and had presented them prisoners at her royal footstool, to be disposed of at her pleasure. Accordingly, after a year spent in visiting various scenes of action in Brittany, England, France, Burgundy, and elsewhere, he returned and offered his two prisoners of rank to Queen Joan. The Queen received the gift very graciously, but, declining to avail herself of the right she had to impose rigorous conditions on the captives, she gave them liberty without ransom102, in addition to bestowing103 on them several marks of liberality.
An early Danish ballad104 tells how one of the ancient kings of Denmark, dancing at a wake with a fair peasant girl, requested her to sing to him, which she did in tones so clear and thrilling that she woke the Queen Sophie, who had retired105 to bed. Her Royal Highness’s curiosity being aroused,{112} she got up, put on her purple mantle106, and went out to see what sort of girl the songstress might be. On seeing her husband dance with the peasant girl, the Queen’s jealousy107 was excited, and she exclaimed that it was “a monstrous108 thing that Signellile”—the peasant girl—“should dance with Denmark’s king.” So she ordered one of her attendants to bring her “the richly moulded horn” filled with wine, giving instructions for an edder-corn to be first dropped in. Then, when the King asked his royal consort if she would not dance with him, Queen Sophie replied—
“Before a place in the dance I fill,
Must drink to my health fair Signellile.”
Whereupon Signellile took the horn, and though she
“Drank but a sip109 to quench110 her thirst,
Her guileless heart in her bosom111 burst.”
In China dancing has from a remote period held a conspicuous112 place in Court ceremonies. At the present day it takes the form of an act of homage113 to the sovereign, for which performance special mandarins are appointed. This dance is performed by the greatest in the land, and at stated times an imposing sight may be witnessed at the imperial palace, when men coming from all parts of Asia render tribute to the Emperor by songs and dances. On one occasion, when the dance was at its glory in China, “the Emperor showed the appreciation115 he felt for his Viceroys by the number of the dances with which he received them when they came into{113} his presence. If he was displeased116 with their administration, he would reprove them silently by allowing only a few dances, performed by a small number of coryphées.” It would seem, too, that emperors “did not disdain117 the study of the dance, or its performance in public; they generally devoted the autumn to the former, and the spring to the latter, and the feast of ancestors was the greatest occasion for the dance. In 1719 the son of the Emperor danced before his father and the whole assembled Court.”
At the French Court dancing from an early period was in high repute, and the intermezzi or entremets—from which sprang dances—performances held at banquets to entertain the guests whilst waiting for the courses, can be traced back to the year 1237, when St. Louis gave a wedding feast to his brother Robert at Compiègne. It is related that at this feast a knight rode across the hall on horseback over a large tight-rope stretched above the heads of the guests.[51] With the Medicis the splendid dance entertainments were introduced into France; and we read how Catherine de’ Medicis, while plotting the massacre118 of St. Bartholomew, amused herself by witnessing the antics of a troupe119 of Italian players, called “I Gelosi,” which consisted of mimic69 acting120 varied121 with comic dances.
It is said that Jacques Coetier, a French physician, was the only person who could curb122 the uneven123 spirit of Louis IX., which he did by{114} making an artful use of that dread124 of death to which the King was subject. Thus Coetier, trading on this peculiarity125, would often say to his Majesty, “I suppose one of these days you will dismiss me, as you have done many other servants; but mark my words, if you do, you will not live eight days after it.” By repeating this menace from time to time, Coetier not only kept himself in his station, but actually succeeded in persuading the King to bestow34 upon him valuable presents. He paid, however, considerable attention to the mind of his royal master, and to divert his attention and to amuse him during his indisposition, he would arrange to have rural dances performed under his window.
Henry IV. and his great minister, Sully, were lovers of the ballet, and Louis XIII. danced on the stage with all his Court.
Louis XIV. enjoyed performing various characters in the ballet, a recreation he pursued till he became too corpulent, when he abandoned it for fear of making himself an object of ridicule94. Some idea of the importance of dancing at the Court of Louis XIV. can be gained from Molière, who goes so far as to say in the Bourgeois126 Gentilhomme “that the destiny of nations depends on the art of dancing.” Monsieur de Lauzun, the favourite of Louis XIV., owed his fortune to his grace in dancing in the King’s quadrille. And, as Dumas writes, “many more than one nobleman owed the favour he enjoyed at Court to the way he pointed114 his toe, or moved his leg.” Indeed, Louis XIV. not only busied himself with the composition of ballets, but{115} danced in them, and took dancing lessons from Beauchamps for twenty years.[52] Until he was thirty-two he danced with professional ballet-dancers, a fad127 which, it has been said, suggested itself to him from some lines in Racine’s Britannicus, wherein Nero’s dramatic proclivities128 are ridiculed. His last appearance was on February 13, 1669, in the Ballet of Flora129. Indeed, so devoted was Louis to the pastime, that in one ballet he actually played no less than five successive characters, those of Apollo, Mars, a Fury, a Dryad, and a Courtier; and actually submitted to the fatigue130 of assuming the several costumes, frequently as often as three times during the week.[53] Benserade had the exclusive privilege of composing the libretti of these ballets, which, it is said, “were one continued ovation131 to the young monarch, who was not in his own person exempted132 from the delivery of the most exaggerated and fulsome133 self-praise.” But such was the taste of the time.
The Allemande Fran?aise—a medi?val German dance introduced into France about the year 1600—was a favourite of Louis XIV. and of Napoleon. Louis XIV. was also specially fond of the courante, which he is said to have performed better than any one else. And it may be added that on the 21st of January 1681, when the then Dauphiness, the Princess de Conti, and some other ladies of the{116} first distinction in the Court of Louis XIV., performed a ballet with the opera, called Le Triomphe de l’Amour, it was received with so much applause, that on the 16th of the following May, when the same opera was acted in Paris, at the Theatre of the Palais Royal, it was thought indispensable for the success of this kind of entertainment to introduce female dancers, who have ever since been a support of the opera.
Among the many amusing anecdotes told of Louis XIV. when still in his minority, it is related that one evening, in 1655, Queen Henrietta and her daughter were invited to see the King dance at a ball, which Anne of Austria gave in her private apartments. The party was of rather a juvenile134 character; the dancers were from the age of the Princess of England, who was about eleven, to the age of Louis XIV., who was just sixteen. At this time Louis was in love with Marie de Mancini—niece of Mazarin—and as she was not at the party, he chose to dance with her sister, the Duchess de Merc?ur, and led her out as his partner in the brawl37. But the Queen-Regent observing his action, at once stepped forth, took the niece of Mazarin from him, and commanded him to dance with the young Princess of England. Queen Henrietta, alarmed at the contretemps, assured the King “that her daughter would not dance—she was too young; besides she had hurt her foot, and could not be his partner.” The result was that neither Louis nor the Princess Henrietta danced that evening, the youthful King remarking later{117} on in a sullen135 mood that “he did not like little girls.”
In 1640 the Duc d’Enghien, son of Prince Henry of Condé, was affianced to Claire Clémence, a niece of Richelieu, and the account given by the Duc d’Aumale of the marriage and the behaviour of the Prince at the accident which befell his bride whilst dancing, gives far from a pleasing idea of Court refinement136 at that period: “The marriage was celebrated137 at the palace of the Cardinal138, and was followed by brilliant festivities.... Mirame had received the plaudits of an illustrious assembly, at which—a memento139 of the military processions of Rome—several general officers appeared who were prisoners of war. After a representation had been given, followed by new comic pieces, the theatre was transformed, as it were by enchantment140, and the Duc d’Enghien, leading in the Queen, opened the ball with her. It was remarked that the young Duchess, embarrassed in a coranto by the high-heeled shoes she wore to increase her low stature141, fell; the Court laughed, and her husband joined in the laughter. The pallor and disordered appearance of the Duc were also noticed.”[54]
Marie Antoinette was fond of dancing, and was a great admirer and patroness of Augustus Vestris, the god of dance, as he was styled. She was instrumental in bringing back the “gavotte” into fashion as a Court and society dance, which had been originally a peasant’s diversion, taking its name from Gap, in Dauphiné. It appears to have{118} been introduced at Court in the sixteenth century, “when, to amuse the royal circles, entertainments were given consisting of dances in national costume, performed by natives of the various provinces, and to the sound of appropriate instruments.” Numerous accounts have been given of the brilliant part Marie Antoinette so often played in the festive scenes of the Court of Versailles, the following conveying a faint notion of the grace and popularity which marked her early but ill-fated life: “The ball opened with four quadrilles; in the first the dress was the old costume of France, the second represented a set of morris-dancers, the third was that of the Queen—Tyrolese peasants, the fourth wild Indians.... In the interval142 between the dances the Queen took occasion to say a kind word to every one. She particularly noticed foreign ladies, among them Lady Ailesbury and three English ladies. They were treated by the Queen with a grace and a courtesy which was much remarked and approved. I shall only add that the Queen every day brings the elegance143 of the Court to a higher degree of perfection.”[55]
It was owing to a tumble sustained by a royal princess at a Court ball some twenty years ago that waltzing has been forbidden at the State balls at Berlin or Potsdam. And that the polka is not considered altogether free from danger is shown{119} by the fact that the German Emperor one day summoned the generals commanding the various troops stationed in and around Berlin, and directed them to instruct those officers who were not able to dance properly to abstain144 from attempting to do so at imperial receptions.
Indeed, the history of most countries is full of incidents illustrative of dancing customs at Court, and on certain special occasions it would seem that feats in dancing formed one of the many attractions to amuse royalty145. When Isabel of Bavaria, queen of Charles VI. of France, made her public entry into Paris, among other extraordinary exhibitions prepared for her reception was the marvellous performance, according to St. Foix, of a rope-dancer.
点击
收听单词发音
收听单词发音 |
1
vow
|
|
| n.誓(言)，誓约；v.起誓，立誓 | |
参考例句： |
|
|
|
|
2
voluptuousness
|
|
| n.风骚，体态丰满 | |
参考例句： |
|
|
|
|
3
corruption
|
|
| n.腐败，堕落，贪污 | |
参考例句： |
|
|
|
|
4
manly
|
|
| adj.有男子气概的；adv.男子般地，果断地 | |
参考例句： |
|
|
|
|
5
animated
|
|
| adj.生气勃勃的，活跃的，愉快的 | |
参考例句： |
|
|
|
|
6
abating
|
|
| 减少( abate的现在分词 )； 减去； 降价； 撤消（诉讼） | |
参考例句： |
|
|
|
|
7
countenanced
|
|
| v.支持，赞同，批准( countenance的过去式 ) | |
参考例句： |
|
|
|
|
|
8
jack
|
|
| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
参考例句： |
|
|
|
|
9
knights
|
|
| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
参考例句： |
|
|
|
|
10
knight
|
|
| n.骑士，武士；爵士 | |
参考例句： |
|
|
|
|
11
monarch
|
|
| n.帝王，君主，最高统治者 | |
参考例句： |
|
|
|
|
12
monarchs
|
|
| 君主，帝王( monarch的名词复数 ) | |
参考例句： |
|
|
|
|
13
noted
|
|
| adj.著名的，知名的 | |
参考例句： |
|
|
|
|
14
pageants
|
|
| n.盛装的游行( pageant的名词复数 )；穿古代服装的游行；再现历史场景的娱乐活动；盛会 | |
参考例句： |
|
|
|
|
15
Vogue
|
|
| n.时髦，时尚；adj.流行的 | |
参考例句： |
|
|
|
|
16
anecdotes
|
|
| n.掌故，趣闻，轶事( anecdote的名词复数 ) | |
参考例句： |
|
|
|
|
17
feats
|
|
| 功绩，伟业，技艺( feat的名词复数 ) | |
参考例句： |
|
|
|
|
18
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
19
ornaments
|
|
| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
参考例句： |
|
|
|
|
20
despoiled
|
|
| v.掠夺，抢劫( despoil的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
21
heartily
|
|
| adv.衷心地，诚恳地，十分，很 | |
参考例句： |
|
|
|
|
22
scramble
|
|
| v.爬行，攀爬，杂乱蔓延，碎片，片段，废料 | |
参考例句： |
|
|
|
|
23
garb
|
|
| n.服装，装束 | |
参考例句： |
|
|
|
|
24
proficiency
|
|
| n.精通，熟练，精练 | |
参考例句： |
|
|
|
|
25
encumbered
|
|
| v.妨碍，阻碍，拖累( encumber的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
26
reign
|
|
| n.统治时期，统治，支配，盛行；v.占优势 | |
参考例句： |
|
|
|
|
27
slashed
|
|
| v.挥砍( slash的过去式和过去分词 )；鞭打；割破；削减 | |
参考例句： |
|
|
|
|
28
crimson
|
|
| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
参考例句： |
|
|
|
|
29
puffed
|
|
| adj.疏松的v.使喷出( puff的过去式和过去分词 )；喷着汽（或烟）移动；吹嘘；吹捧 | |
参考例句： |
|
|
|
|
30
chamber
|
|
| n.房间，寝室；会议厅；议院；会所 | |
参考例句： |
|
|
|
|
31
cypress
|
|
| n.柏树 | |
参考例句： |
|
|
|
|
32
conversed
|
|
| v.交谈，谈话( converse的过去式 ) | |
参考例句： |
|
|
|
|
33
bestowed
|
|
| 赠给，授予( bestow的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
34
bestow
|
|
| v.把…赠与，把…授予；花费 | |
参考例句： |
|
|
|
|
35
chancellor
|
|
| n.(英)大臣；法官；(德、奥)总理；大学校长 | |
参考例句： |
|
|
|
|
36
spacious
|
|
| adj.广阔的，宽敞的 | |
参考例句： |
|
|
|
|
37
brawl
|
|
| n.大声争吵，喧嚷；v.吵架，对骂 | |
参考例句： |
|
|
|
|
38
brawls
|
|
| 吵架，打架( brawl的名词复数 ) | |
参考例句： |
|
|
|
|
39
strings
|
|
| n.弦 | |
参考例句： |
|
|
|
|
41
participation
|
|
| n.参与，参加，分享 | |
参考例句： |
|
|
|
|
42
adulator
|
|
| n.好奉承的人 | |
参考例句： |
|
|
|
|
|
43
poetic
|
|
| adj.富有诗意的，有诗人气质的，善于抒情的 | |
参考例句： |
|
|
|
|
44
specially
|
|
| adv.特定地；特殊地；明确地 | |
参考例句： |
|
|
|
|
45
pricked
|
|
| 刺，扎，戳( prick的过去式和过去分词 )； 刺伤； 刺痛； 使剧痛 | |
参考例句： |
|
|
|
|
46
fiddle
|
|
| n.小提琴；vi.拉提琴；不停拨弄，乱动 | |
参考例句： |
|
|
|
|
47
majesty
|
|
| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
参考例句： |
|
|
|
|
48
graphic
|
|
| adj.生动的，形象的，绘画的，文字的，图表的 | |
参考例句： |
|
|
|
|
49
contrived
|
|
| adj.不自然的，做作的；虚构的 | |
参考例句： |
|
|
|
|
50
loft
|
|
| n.阁楼，顶楼 | |
参考例句： |
|
|
|
|
51
festive
|
|
| adj.欢宴的，节日的 | |
参考例句： |
|
|
|
|
52
tiresome
|
|
| adj.令人疲劳的，令人厌倦的 | |
参考例句： |
|
|
|
|
53
mighty
|
|
| adj.强有力的；巨大的 | |
参考例句： |
|
|
|
|
54
vex
|
|
| vt.使烦恼，使苦恼 | |
参考例句： |
|
|
|
|
55
chaste
|
|
| adj.贞洁的；有道德的；善良的；简朴的 | |
参考例句： |
|
|
|
|
56
remarkable
|
|
| adj.显著的，异常的，非凡的，值得注意的 | |
参考例句： |
|
|
|
|
57
malevolent
|
|
| adj.有恶意的，恶毒的 | |
参考例句： |
|
|
|
|
58
frivolous
|
|
| adj.轻薄的；轻率的 | |
参考例句： |
|
|
|
|
59
remiss
|
|
| adj.不小心的，马虎 | |
参考例句： |
|
|
|
|
60
prevailing
|
|
| adj.盛行的；占优势的；主要的 | |
参考例句： |
|
|
|
|
61
gunpowder
|
|
| n.火药 | |
参考例句： |
|
|
|
|
62
consort
|
|
| v.相伴；结交 | |
参考例句： |
|
|
|
|
63
titular
|
|
| adj.名义上的，有名无实的；n.只有名义（或头衔）的人 | |
参考例句： |
|
|
|
|
64
standing
|
|
| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
参考例句： |
|
|
|
|
65
adoption
|
|
| n.采用，采纳，通过；收养 | |
参考例句： |
|
|
|
|
66
buffoons
|
|
| n.愚蠢的人( buffoon的名词复数 )；傻瓜；逗乐小丑；滑稽的人 | |
参考例句： |
|
|
|
|
|
67
electrified
|
|
| v.使电气化( electrify的过去式和过去分词 )；使兴奋 | |
参考例句： |
|
|
|
|
68
accomplished
|
|
| adj.有才艺的；有造诣的；达到了的 | |
参考例句： |
|
|
|
|
69
mimic
|
|
| v.模仿，戏弄；n.模仿他人言行的人 | |
参考例句： |
|
|
|
|
70
stammered
|
|
| v.结巴地说出( stammer的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
71
curdled
|
|
| v.（使）凝结( curdle的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
72
imposing
|
|
| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
参考例句： |
|
|
|
|
73
majestic
|
|
| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
参考例句： |
|
|
|
|
74
promenade
|
|
| n./v.散步 | |
参考例句： |
|
|
|
|
75
originality
|
|
| n.创造力，独创性；新颖 | |
参考例句： |
|
|
|
|
76
Portuguese
|
|
| n.葡萄牙人；葡萄牙语 | |
参考例句： |
|
|
|
|
77
votary
|
|
| n.崇拜者；爱好者；adj.誓约的，立誓任圣职的 | |
参考例句： |
|
|
|
|
78
sleepless
|
|
| adj.不睡眠的，睡不著的，不休息的 | |
参考例句： |
|
|
|
|
79
vehemence
|
|
| n.热切；激烈；愤怒 | |
参考例句： |
|
|
|
|
80
insanity
|
|
| n.疯狂，精神错乱；极端的愚蠢，荒唐 | |
参考例句： |
|
|
|
|
81
peril
|
|
| n.(严重的)危险；危险的事物 | |
参考例句： |
|
|
|
|
82
infamy
|
|
| n.声名狼藉，出丑，恶行 | |
参考例句： |
|
|
|
|
83
dominions
|
|
| 统治权( dominion的名词复数 )； 领土； 疆土； 版图 | |
参考例句： |
|
|
|
|
84
devoted
|
|
| adj.忠诚的，忠实的，热心的，献身于...的 | |
参考例句： |
|
|
|
|
85
assailed
|
|
| v.攻击( assail的过去式和过去分词 )；困扰；质问；毅然应对 | |
参考例句： |
|
|
|
|
86
choir
|
|
| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
参考例句： |
|
|
|
|
87
theatrical
|
|
| adj.剧场的，演戏的；做戏似的，做作的 | |
参考例句： |
|
|
|
|
88
nuns
|
|
| n.（通常指基督教的）修女， （佛教的）尼姑( nun的名词复数 ) | |
参考例句： |
|
|
|
|
89
worthy
|
|
| adj.(of)值得的，配得上的；有价值的 | |
参考例句： |
|
|
|
|
90
munificent
|
|
| adj.慷慨的，大方的 | |
参考例句： |
|
|
|
|
91
distinguished
|
|
| adj.卓越的，杰出的，著名的 | |
参考例句： |
|
|
|
|
92
affected
|
|
| adj.不自然的，假装的 | |
参考例句： |
|
|
|
|
93
ridiculed
|
|
| v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
94
ridicule
|
|
| v.讥讽，挖苦；n.嘲弄 | |
参考例句： |
|
|
|
|
95
extravagant
|
|
| adj.奢侈的；过分的；(言行等)放肆的 | |
参考例句： |
|
|
|
|
96
melancholy
|
|
| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
参考例句： |
|
|
|
|
97
asthma
|
|
| n.气喘病，哮喘病 | |
参考例句： |
|
|
|
|
98
graceful
|
|
| adj.优美的，优雅的；得体的 | |
参考例句： |
|
|
|
|
99
gallant
|
|
| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
参考例句： |
|
|
|
|
100
subdued
|
|
| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
参考例句： |
|
|
|
|
101
valiant
|
|
| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
参考例句： |
|
|
|
|
102
ransom
|
|
| n.赎金，赎身；v.赎回，解救 | |
参考例句： |
|
|
|
|
103
bestowing
|
|
| 砖窑中砖堆上层已烧透的砖 | |
参考例句： |
|
|
|
|
104
ballad
|
|
| n.歌谣，民谣，流行爱情歌曲 | |
参考例句： |
|
|
|
|
105
retired
|
|
| adj.隐退的，退休的，退役的 | |
参考例句： |
|
|
|
|
106
mantle
|
|
| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
参考例句： |
|
|
|
|
107
jealousy
|
|
| n.妒忌，嫉妒，猜忌 | |
参考例句： |
|
|
|
|
108
monstrous
|
|
| adj.巨大的；恐怖的；可耻的，丢脸的 | |
参考例句： |
|
|
|
|
109
sip
|
|
| v.小口地喝，抿，呷；n.一小口的量 | |
参考例句： |
|
|
|
|
110
quench
|
|
| vt.熄灭，扑灭；压制 | |
参考例句： |
|
|
|
|
111
bosom
|
|
| n.胸，胸部；胸怀；内心；adj.亲密的 | |
参考例句： |
|
|
|
|
112
conspicuous
|
|
| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
参考例句： |
|
|
|
|
113
homage
|
|
| n.尊敬，敬意，崇敬 | |
参考例句： |
|
|
|
|
114
pointed
|
|
| adj.尖的，直截了当的 | |
参考例句： |
|
|
|
|
115
appreciation
|
|
| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
参考例句： |
|
|
|
|
116
displeased
|
|
| a.不快的 | |
参考例句： |
|
|
|
|
117
disdain
|
|
| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
参考例句： |
|
|
|
|
118
massacre
|
|
| n.残杀，大屠杀；v.残杀，集体屠杀 | |
参考例句： |
|
|
|
|
119
troupe
|
|
| n.剧团，戏班；杂技团；马戏团 | |
参考例句： |
|
|
|
|
120
acting
|
|
| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
参考例句： |
|
|
|
|
121
varied
|
|
| adj.多样的，多变化的 | |
参考例句： |
|
|
|
|
122
curb
|
|
| n.场外证券市场，场外交易；vt.制止，抑制 | |
参考例句： |
|
|
|
|
123
uneven
|
|
| adj.不平坦的，不规则的，不均匀的 | |
参考例句： |
|
|
|
|
124
dread
|
|
| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
参考例句： |
|
|
|
|
125
peculiarity
|
|
| n.独特性，特色；特殊的东西；怪癖 | |
参考例句： |
|
|
|
|
126
bourgeois
|
|
| adj./n.追求物质享受的(人)；中产阶级分子 | |
参考例句： |
|
|
|
|
127
fad
|
|
| n.时尚；一时流行的狂热；一时的爱好 | |
参考例句： |
|
|
|
|
128
proclivities
|
|
| n.倾向，癖性( proclivity的名词复数 ) | |
参考例句： |
|
|
|
|
129
flora
|
|
| n.(某一地区的)植物群 | |
参考例句： |
|
|
|
|
130
fatigue
|
|
| n.疲劳，劳累 | |
参考例句： |
|
|
|
|
131
ovation
|
|
| n.欢呼，热烈欢迎，热烈鼓掌 | |
参考例句： |
|
|
|
|
132
exempted
|
|
| 使免除[豁免]( exempt的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
133
fulsome
|
|
| adj.可恶的，虚伪的，过分恭维的 | |
参考例句： |
|
|
|
|
134
juvenile
|
|
| n.青少年，少年读物；adj.青少年的，幼稚的 | |
参考例句： |
|
|
|
|
135
sullen
|
|
| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
参考例句： |
|
|
|
|
136
refinement
|
|
| n.文雅；高尚；精美；精制；精炼 | |
参考例句： |
|
|
|
|
137
celebrated
|
|
| adj.有名的，声誉卓著的 | |
参考例句： |
|
|
|
|
138
cardinal
|
|
| n.(天主教的)红衣主教；adj.首要的，基本的 | |
参考例句： |
|
|
|
|
139
memento
|
|
| n.纪念品，令人回忆的东西 | |
参考例句： |
|
|
|
|
140
enchantment
|
|
| n.迷惑，妖术，魅力 | |
参考例句： |
|
|
|
|
141
stature
|
|
| n.（高度）水平，（高度）境界，身高，身材 | |
参考例句： |
|
|
|
|
142
interval
|
|
| n.间隔，间距；幕间休息，中场休息 | |
参考例句： |
|
|
|
|
143
elegance
|
|
| n.优雅；优美，雅致；精致，巧妙 | |
参考例句： |
|
|
|
|
144
abstain
|
|
| v.自制，戒绝，弃权，避免 | |
参考例句： |
|
|
|
|
145
royalty
|
|
| n.皇家，皇族 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |