It was at the Christmas festivities in the year 1509 that Henry VIII. appeared in the disguise of a strange knight9, astonishing the Court circle with the grace and vigour10 of his tilting11. Henry was specially13 fond of disguisings and masquings, and on another occasion he presented himself with his cousin, the Earl of Essex, and other nobles,{153} in the disguise of Robin14 Hood15 and his men, “Whereat,” writes Holinshed, “the Queen and her ladies were greatly amazed, as well for the strange sight as for their sudden appearance.”
At Shrovetide soon afterwards, in a grand banquet given at Westminster, Henry, with the Earls of Essex, Wiltshire, and Fitzwalter, appeared in Russian costume, “with furred hats of grey, each of them having a hatchet16 in hand, and wearing boots with peaks turned up.” The King’s sister, the Princess Mary, danced a masquing ballet, hiding her face under a black gauze mask, as “she had assumed the character of an Ethiop queen.”
In the early part of the year 1510 a royal masque was given to celebrate the birth of Prince Henry, on which occasion Sir Charles Brandon, afterwards Duke of Suffolk, introduced himself before Queen Catherine in the garb17 of a “hermit18 poor,” craving19 permission to tilt12 in her honour. In the evening, when her Majesty20 sat in state at Westminster, a nobleman entered to inform her “how that in a garden of pleasure was an arbour of gold, full of ladies, who were very desirous of showing pastime for the Queen’s diversion.”
Catherine graciously replied, “I and my ladies will be happy to behold22 them and their pastime.”
Then a curtain was drawn23 aside, and the pageant3 moved forwards. It was an arbour, covered with gold, above which were twined branches of hawthorn24, roses, and eglantines, all made of silk and satin to resemble the natural colours of the flowers. In the arbour were six ladies, dressed in gowns of{154} white and green satin, covered with gold letters of H and K. Near the bower25 stood the King himself and five lords, dressed in purple satin, likewise covered with the same monograms26 in solid bullion27, and every one had his name in letters of bullion. Then the King and his company danced before Catherine’s throne.
In honour of the marriage of Arthur, Prince of Wales, with Catherine of Aragon, three pageants were exhibited in Westminster Hall. The first was a castle with ladies; the second, a ship in full sail, that cast anchor near the castle; and the third, a mountain with several armed knights28 upon it, who stormed the castle and obliged the ladies to surrender. The pageant terminated with a dance.
But these Court spectacles were, perhaps, at no period more cultivated in this country than by Henry VIII. and his favourite, Wolsey, in whose strangely contrived29 shows a moving mountain would sometimes “enter the great hall, adorned30 with trees, flowers, and herbage, and studded with wild beasts and savage31 men, which, opening suddenly, would send forth32 a gay throng33 of knights and ladies, or allegorical personages, who, having sung and danced before the guests, retired34 again to their place of concealment35.”[71] Such performances, as may be imagined, by their novelty and grotesqueness36, rarely failed to create as much fun and amusement among the royal circle as among the privileged persons invited to see them.
When an inventory37 was taken after the death{155} of Henry VIII. of all the tapestry38, pictures, plate, jewels, and other goods of which he died possessed39, it was found that he had no less than ninety-nine vizors, or “masks of sondry sorts,” besides many sets of “maskings heads” at Greenwich, which he and his courtiers were in the habit of wearing.
In her youthful days Queen Mary made her appearance at a pantomimic ballet, when she wore a black crape mask as an Ethiopian princess. In the year 1527 she exhibited herself before the French ambassadors at Greenwich Palace, with five of her ladies, dressed in Icelandic costume; and with six lords, in the costume of the same country, the party “daunced lustily about the hall.”
At another masque, before the same ambassadors, in May of that year, the Princess Mary issued out of a cave with her seven ladies, dressed after the Roman fashion in rich cloth of gold and crimson41 tinsel, and they danced a ballet with eight lords. It is said that the young Princess soon became emboldened42 and at her ease when engaged in such royal pageantry; although, as it has been remarked, it seems strange to us nowadays that one so young should have been allowed or encouraged, so attired43, to challenge the gaze and criticism of strangers. The only instance, says Payne Collier, in which Queen Mary called on the Master of the Revels44 to provide for entertainments at Court during her reign was in 1557. On St. Mark’s Day she commanded, for her “regal disport45, recreation, and comfort,” a{156} “notorious maske of Almaynes, Pilgrymes, and Irishemen.”
A continual series of pageantry and masquing welcomed Queen Elizabeth’s reception at Kenilworth; and on Shrove Tuesday, 1594, the members of Gray’s Inn got up a burlesque46 masque for her amusement, with which she was so much pleased that the courtiers, fired with emulation47, as soon as the masque was over began to dance a measure, which caused her Majesty to utter this reproof48: “What, shall we have bread and cheese after a banquet?”
The Earl of Essex, who took good care to propitiate49 his royal mistress by all sorts of flattery, on the 17th of November 1596—the anniversary of her accession to the throne—caused a sort of masque to be represented which was thus described by an eye-witness: “My lord of Essex’s device is much commended in these late triumphs. Some pretty while before he came in himself to the tilt, he sent his page with some speech to the Queen, who returned with her Majesty’s glove; and when he came himself, he was met by an old hermit, a secretary of state, a brave soldier, and an esquire. The first presented him with a book of meditations50, the second with political discourses52, the third with orations53 of brave-fought battles, the fourth was but his own follower54, to whom the other three imparted much of their purpose before their coming in. Another devised with him, persuading him to this and that course of life, according to their own inclinations56. Then{157} comes into the tilt-yard, unthought upon, the ordinary post-boy of London, a ragged57 villain58, all bemired, upon a poor lean jade59, galloping60 and blowing for life, and delivered the secretary a packet of letters, which he presently offered to my lord of Essex; and with this dumb show our eyes were fed for that time.”
In the after-supper before the Queen, “they first delivered a well-penned speech to move this worthy61 knight to leave his vain following of love, and to betake him to heavenly meditation51, the secretaries all tending to have him follow matters of state, the soldiers persuading him to war;” but the esquire answered them all in plain English: “That this knight would never forsake62 his mistress’s love, whose virtue63 made all his thoughts divine, whose wisdom taught him all true policy, whose beauty and worth were at all times able to make him fit to command armies. He showed all the defects and imperfections of the times, and therefore thought his course of life the best in serving his mistress.” The Queen said, “If she had thought there had been so much said of her, she would not have been there that night.”
A Court masque was the accompaniment of Darnley’s murder, probably arranged, it has been suggested, as one of the episodes of that cruel tragedy. Much has been written on the beauty and romance of the Elizabethan masques, which it was required should be something more than a ballet, or a fancy ball. According to Mr. Thornbury, in his “Shakspere’s England” (vol. ii. p. 371),{158} “the poetry was such as Jonson could write—tender as Anacreon, vigorous as ?schylus; though occasionally tedious, laboured, dull, and rugged64, mythology65, history, and romance were ransacked66 to furnish new materials for these plays; the poetry and costume were all but perfect, and the scenery was left to fancy, so well able to realise it. The amusement that delighted such minds as Bacon’s and Jonson’s is not to be sneered67 at in the nineteenth century.” The sympathy and support, too, which Elizabeth gave to this class of diversion had a more or less lasting68 effect; but there was an inclination55 as time went on to introduce many innovations which were not always in good taste.
One of the chief amusements of James I. and his Court were masques and emblematic69 pageants, and it appears by what is entitled “A Briefe Collection of the Extraordinarie Payments” of the Court of James I., from 1603 to the end of 1609, that the “charges for masks” amounted to ￡4215.[72] An imposing70 instance occurred in the year 1610, to commemorate71 the Queen’s eldest72 son, Henry, being created Prince of Wales. On this occasion the “whole Court of England, the Queen, the Princess-Royal, and all the aristocratic beauties of the day were busy devising robes, arranging jewels, and practising steps and movements for this beautiful poem of action, in which music, painting, dancing, and decoration, guided by the taste of Inigo Jones, were all called into employment to make the palace of Whitehall a{159} scene of enchantment73. In this masque the Court ladies personated the nymphs of the principal rivers, the Queen represented the Empress of Streams, and the little Prince Charles, in the character of Zephyr74, attended by twelve little ladies, was to deliver the Queen’s presents to his elder brother, the newly created Prince of Wales, the presentation being the ostensible75 business of the masque. One of the chief attractions of this entertainment was a ballet, which was so arranged that Prince Charles always danced encircled by his little ladies, all of whom had been so carefully trained that they were rapturously applauded by the whole Court. This festive76 scene was perhaps one of the brightest and happiest in the Queen’s life, for when in after days some one accidentally recalled it to her memory after the death of Prince Henry, she gave way to the most acute grief.[73]
But some of these magnificent masques appear to have been conducted with but little attention to decorum. The Countess of Dorset mentions in her Memoirs77 that there was “much talk of a mask which the Queen held at Winchester, and how all the ladies about the Court had gotten such ill names, that it was grown a scandalous place; and the Queen herself was much fallen from her former greatness and reputation she had in the world.” Peyton’s censure78 is even stronger. “The masks,” he says, “and plays at Whitehall were{160} used only as incentives79 for lust40; therefore the courtiers invited the citizens’ wives to those shows on purpose to defile80 them. There is not a chamber81 nor lobby, if it could speak, but would verify this.”
In the following reign the masque became a highly beautiful and exquisite82 entertainment, encouraged by the fine taste of Charles I., and aided by such cultured men as Buckingham, Jonson, Lawes the musician, and Inigo Jones. The masque at this period was produced at an enormous outlay, and one presented at Whitehall by the Inns of Court in the year 1633 cost the prodigious83 sum of ￡21,000. In the masque of “The Night and the Hours,” the first scene represented a double valley, one side with dark clouds hanging before it, on the other a green vale, with trees, nine of which were covered with gold, and were fifteen feet high. From this grove84 towards the “state,” or seat of the King, extended a dancing-place, with the bower of Flora85 on the right, and the house of Night on the left. The bower of Flora was decorated with flowers and leafy branches, whilst Night appears in her house, “her long black hair spangled with gold, amidst her hours, their faces black, and each bearing a lighted black torch.”
On another occasion the Lords’ masque was performed, which was also divided into two parts, the lower being first discovered, in which there was seen a wood in perspective; and on the sudden fall of a curtain there appeared a heaven of clouds of all hues86, whilst from a bright and transparent{161} cloud eight maskers descended87 with the music of a full song. On reaching the ground the cloud broke in twain, and, after the manner of a transformation88 scene, a series of changes took place. With these gorgeous entertainments was usually presented the anti-masque, a humorous parody89 of the more solemn show. And to the popularity of this species of exhibition we owe Milton’s “Comus and Arcades90.”[74]
During the reign of Charles II. masquerading was the rage, and it is recorded how the King and Queen and all the courtiers went about masked, and so completely disguised that no one, unless in the secret, could distinguish them. They were carried about in hackney-chairs, entered houses where merry-makings were going on, and danced about with the wildest frolic. On one occasion the Queen got separated from her party, and her chairmen, not knowing her, went away. Much frightened, she returned to Whitehall in a hackney-coach, or, according to some authorities, in a cart. The Earl of Manchester—the Lord Chamberlain—well aware that she was surrounded by spies who were ready to make the most of the slightest indiscretion on her part, did not hesitate to tell her that “it was neither decent nor safe for her to go about as she had done of late.” The Duke of Buckingham seriously proposed to Charles that in some nocturnal frolic they should carry the Queen off, and send her to the plantations91, to which, according to Burnet, the King would have had no objection had she retired voluntarily into a convent.{162}
A harmless feature of the frolic and fun of the exiled Court at St. Germains were the balls and receptions given by Mary Beatrice. A lively description, too, has been given of the Shrove Tuesday masquerade at St. Germains, to which the whole town was admitted, the barriers being thrown open by her Majesty’s command, in order that all classes, high and low, young and old, English and French, might join in the carnival92. Etiquette93, however, forbade the Prince and Princess from wearing masks, or assuming any particular characters on these occasions; yet they are represented as dancing merrily in the midst of the motley crowd.
On one occasion some indignation was caused when it was discovered that, at a masked ball, the son of the Court apothecary94, Bondin, had found admittance, at which the Duchess of Burgundy was present. The apothecary’s son, concealed95 under his mask, had the audacity96 to pass for a marquis, and was bold enough to dance with a princess who was not very remote from the throne. At these balls not only James and his Queen, but the young Prince of Wales, were often present. At one of these riotous97 gatherings98 the crowd was so great that the little Duke de Berri, son of the Dauphin, nearly lost his life in the pressure by suffocation99. Happily he was rescued, but not without some difficulty. It may be noted100 that the “pretended Prince of Wales,” as the son of James is invariably called by the English papers of the period, is described as being present at{163} these masked balls, “masked,” to save him from being “tied to ceremonials.”
And it is recorded that whilst this kind of merriment was going on, the ears of James were deafened101 by solicitations from his starving disbanded soldiers, whose distress102 was appalling103. Indeed, their condition became so desperate that Louis was petitioned to enrol104 one hundred of them in the French army; and, when this request was refused, an honest captain of gendarmes105, expressing himself too freely, was punished with the loss of his personal freedom, and was flung into the Bastille. It is said that James would have had sympathy with the bold speaker thus cruelly punished, but that his attention was, through the force of circumstances, attracted in different directions.[75]
Masquerading was general in Scotland as far back as the days of James I. At the celebration of the marriage of James IV. and the Lady Margaret, a company of English comedians106, under the management of John English, enlivened the festivities of the Court with a dramatic representation. “After dinnar a moralite was played by the said Master Englishe and his companions, in the presence of the Kyng and Qwene, and then daunces were daunced.”
During the regency of Mary of Guise8, and the reign of Mary Queen of Scots, “when masques became more and more splendid and extravagant107, and when the Queen pirouetted in newly introduced{164} French dances which were anything but models of decorum, no wonder the more sober-minded were disgusted, and all amusement of the kind was brought into disrepute.”[76] But it would appear that, however much such frivolities grated on the feelings of the sober-minded Scotsman, royalty108 was not disposed on that account to dispense109 with a mode of diversion which had never been so severely110 censured111 elsewhere.
In the year 1681 there were gay doings at Edinburgh, when the Duke and Duchess of York and the Lady Anne—afterwards Queen of England—were present. Balls, plays, and masquerades were introduced; but the last were soon laid aside, “the taste of the times being opposed to such ungodly innovations,” and there were substituted poetic112 and dramatic masques and pastorals, in which the Princess Anne, with other young ladies of quality, personated some of the mythological113 characters. These entertainments included the “Comus” of Milton, and similar pieces by Ben Jonson, Shirley, Davenant, and other dramatic poets of the last century, and they were interspersed114 with music, and were set off with splendid dresses and decorations.
And coming down to later times, a practical joke which was played by the Duke of Montagu on Heidegger, a celebrated115 conductor of operas and masquerades, is said to have been much enjoyed by George II. A few days previous to one of Heidegger’s famous masquerades, at which the King had promised to be present, the Duke of{165} Montagu invited the German to sup with him at the Devil’s Tavern116 in Fleet Street, and plied21 him with wine till he became helplessly intoxicated117. Whilst in this condition, Mrs. Salmon118 was commissioned to take a cast of his face, which was afterwards painted “to the very image of life.” The Duke then procured119 a suit of clothes exactly like Heidegger’s ordinary costume, and having procured a person whose voice and figure resembled those of the German, he managed to create an excellent counterpart of his unfortunate victim. On the evening of the masquerade Heidegger ordered the band to play the National Anthem120 as soon as the King and his suite121 arrived; whereupon the counterfeit122 Heidegger commanded them to play the Jacobite tune123 of “Over the water to Charley.” The King and the players were in the secret of the joke, for the former laughed immoderately, and the latter followed the orders of the fictitious124 manager. Heidegger was in a state of fury, and when informed by the Duke of Montagu of his Majesty’s displeasure at the insolence125 of the band, repaired to the royal box to vindicate126 his character. The King kept up the joke for a time, and terminated it by ordering the counterfeit Heidegger to remove his mask.
On New Year’s Eve 1745 Frederick the Great, in celebration of the peace with Silesia, gave at the Opera House a masked ball, to which every one, without distinction, was admitted. The Court and the nobility were entertained at six large tables, in addition to which people of every rank and station found on all sides richly furnished buffets127. On the{166} square before the Opera House a temple of Janus was erected128, behind which a grand display of fireworks took place. The ball lasted till morning, the maskers giving only too manifest proof that they had found the wines most excellent. But the King, who made the round of the tables, where he saw a good deal of his plate finding its way into the pockets of his guests, and discovered many persons lying hopelessly drunk in the lobbies of the house, remarked, “I shall never repeat this joke.”
On the 13th of March 1799 the Opera House of Berlin was the scene of a masquerade which contemporary reports describe as well worthy of the days of Louis XIV., or of Augustus the Strong of Saxony. It represented the marriage of the English Queen Mary with Philip of Spain, the character of the bride being supported by Queen Louisa, and that of the bridegroom by the Duke of Sussex. A minuet of these two royal personages was followed by a quadrille between Queen Elizabeth, Don John of Austria, Margaret of Parma, and the Duke of Savoy.
On the evening of March 16, 1792, Gustavus III. was mortally wounded at a masked ball at the Opera House at Stockholm, and died, after great suffering, on the 29th. The pistol-shot was fired by a man of noble family, Ankarstr?m, formerly129 a captain in the Guards, who, having retired from active service, and still holding a half-civil command in the island of Gothland, had been—rightly or wrongly—accused of a traitorous130 understanding with the Finland mutineers in 1788. He had,{167} therefore, been sentenced by the King to a term of imprisonment131. This sentence, it has been suggested, and the wrongs his order had sustained in the constitutional changes of 1789, may have wrought132 a mind naturally gloomy into madness; in addition to which he is said to have lost heavily by a sudden depreciation133 of paper money to an extent of 30 per cent. Hence the King, in his eyes, was a tyrant134 and a robber, and he vowed135 vengeance136. With him were joined several other discontented and angry nobles, who had suffered arrest in 1789, and had real or fancied wrongs to avenge137; and it may be added that the King’s secretary, Bjelke, who enjoyed much of his Majesty’s confidence, persuaded him to go to the ball, taking care to give timely notice to the conspirators138.
At night, after Christina had taken the most solemn step of abandoning the community of Luther for the Church of Rome, at Innsbruck, in Tyrol, the Archduke entertained her with a masque and dancing. Nor was this all, for there was a play represented before her that evening, the moral of which, it is said, was not of the cleanest, and upon which the illustrious convert made this comment: “Well, gentlemen, it is but proper that you should entertain me with a comedy to-night, since I amused you with a farce139 this morning”—a profane140 remark, concerning which the great Leibnitz remarks that, if it was really uttered, it proved that “Christina was not mindful of—decorum! ”
点击
收听单词发音
收听单词发音 |
1
reign
|
|
| n.统治时期，统治，支配，盛行；v.占优势 | |
参考例句： |
|
|
|
|
2
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： |
|
|
|
|
3
pageant
|
|
| n.壮观的游行；露天历史剧 | |
参考例句： |
|
|
|
|
4
costly
|
|
| adj.昂贵的，价值高的，豪华的 | |
参考例句： |
|
|
|
|
5
outlay
|
|
| n.费用，经费，支出；v.花费 | |
参考例句： |
|
|
|
|
6
propriety
|
|
| n.正当行为；正当；适当 | |
参考例句： |
|
|
|
|
7
machinery
|
|
| n.(总称)机械，机器；机构 | |
参考例句： |
|
|
|
|
8
guise
|
|
| n.外表，伪装的姿态 | |
参考例句： |
|
|
|
|
9
knight
|
|
| n.骑士，武士；爵士 | |
参考例句： |
|
|
|
|
10
vigour
|
|
| （=vigor）n.智力，体力，精力 | |
参考例句： |
|
|
|
|
11
tilting
|
|
| 倾斜，倾卸 | |
参考例句： |
|
|
|
|
12
tilt
|
|
| v.(使)倾侧；(使)倾斜；n.倾侧；倾斜 | |
参考例句： |
|
|
|
|
13
specially
|
|
| adv.特定地；特殊地；明确地 | |
参考例句： |
|
|
|
|
14
robin
|
|
| n.知更鸟，红襟鸟 | |
参考例句： |
|
|
|
|
15
hood
|
|
| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
参考例句： |
|
|
|
|
16
hatchet
|
|
| n.短柄小斧；v.扼杀 | |
参考例句： |
|
|
|
|
17
garb
|
|
| n.服装，装束 | |
参考例句： |
|
|
|
|
18
hermit
|
|
| n.隐士，修道者；隐居 | |
参考例句： |
|
|
|
|
19
craving
|
|
| n.渴望,热望 | |
参考例句： |
|
|
|
|
20
majesty
|
|
| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
参考例句： |
|
|
|
|
21
plied
|
|
| 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： |
|
|
|
|
22
behold
|
|
| v.看，注视，看到 | |
参考例句： |
|
|
|
|
23
drawn
|
|
| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
参考例句： |
|
|
|
|
24
hawthorn
|
|
| 山楂 | |
参考例句： |
|
|
|
|
25
bower
|
|
| n.凉亭，树荫下凉快之处；闺房；v.荫蔽 | |
参考例句： |
|
|
|
|
26
monograms
|
|
| n.字母组合( monogram的名词复数 ) | |
参考例句： |
|
|
|
|
27
bullion
|
|
| n.金条，银条 | |
参考例句： |
|
|
|
|
28
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： |
|
|
|
|
29
contrived
|
|
| adj.不自然的，做作的；虚构的 | |
参考例句： |
|
|
|
|
30
adorned
|
|
| [计]被修饰的 | |
参考例句： |
|
|
|
|
31
savage
|
|
| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
参考例句： |
|
|
|
|
32
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
33
throng
|
|
| n.人群，群众；v.拥挤，群集 | |
参考例句： |
|
|
|
|
34
retired
|
|
| adj.隐退的，退休的，退役的 | |
参考例句： |
|
|
|
|
35
concealment
|
|
| n.隐藏, 掩盖，隐瞒 | |
参考例句： |
|
|
|
|
36
grotesqueness
|
|
参考例句： |
|
|
|
|
|
37
inventory
|
|
| n.详细目录，存货清单 | |
参考例句： |
|
|
|
|
38
tapestry
|
|
| n.挂毯，丰富多采的画面 | |
参考例句： |
|
|
|
|
39
possessed
|
|
| adj.疯狂的；拥有的，占有的 | |
参考例句： |
|
|
|
|
40
lust
|
|
| n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望 | |
参考例句： |
|
|
|
|
41
crimson
|
|
| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
参考例句： |
|
|
|
|
42
emboldened
|
|
| v.鼓励，使有胆量( embolden的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
43
attired
|
|
| adj.穿着整齐的v.使穿上衣服，使穿上盛装( attire的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
44
revels
|
|
| n.作乐( revel的名词复数 )；狂欢；着迷；陶醉v.作乐( revel的第三人称单数 )；狂欢；着迷；陶醉 | |
参考例句： |
|
|
|
|
45
disport
|
|
| v.嬉戏，玩 | |
参考例句： |
|
|
|
|
46
burlesque
|
|
| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
参考例句： |
|
|
|
|
47
emulation
|
|
| n.竞争；仿效 | |
参考例句： |
|
|
|
|
48
reproof
|
|
| n.斥责，责备 | |
参考例句： |
|
|
|
|
49
propitiate
|
|
| v.慰解，劝解 | |
参考例句： |
|
|
|
|
50
meditations
|
|
| 默想( meditation的名词复数 )； 默念； 沉思； 冥想 | |
参考例句： |
|
|
|
|
51
meditation
|
|
| n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录 | |
参考例句： |
|
|
|
|
52
discourses
|
|
| 论文( discourse的名词复数 )； 演说； 讲道； 话语 | |
参考例句： |
|
|
|
|
53
orations
|
|
| n.（正式仪式中的）演说，演讲( oration的名词复数 ) | |
参考例句： |
|
|
|
|
54
follower
|
|
| n.跟随者；随员；门徒；信徒 | |
参考例句： |
|
|
|
|
55
inclination
|
|
| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
参考例句： |
|
|
|
|
56
inclinations
|
|
| 倾向( inclination的名词复数 )； 倾斜； 爱好； 斜坡 | |
参考例句： |
|
|
|
|
57
ragged
|
|
| adj.衣衫褴褛的，粗糙的，刺耳的 | |
参考例句： |
|
|
|
|
58
villain
|
|
| n.反派演员，反面人物；恶棍；问题的起因 | |
参考例句： |
|
|
|
|
59
jade
|
|
| n.玉石；碧玉；翡翠 | |
参考例句： |
|
|
|
|
60
galloping
|
|
| adj. 飞驰的, 急性的 动词gallop的现在分词形式 | |
参考例句： |
|
|
|
|
61
worthy
|
|
| adj.(of)值得的，配得上的；有价值的 | |
参考例句： |
|
|
|
|
62
forsake
|
|
| vt.遗弃，抛弃；舍弃，放弃 | |
参考例句： |
|
|
|
|
63
virtue
|
|
| n.德行，美德；贞操；优点；功效，效力 | |
参考例句： |
|
|
|
|
64
rugged
|
|
| adj.高低不平的，粗糙的，粗壮的，强健的 | |
参考例句： |
|
|
|
|
65
mythology
|
|
| n.神话，神话学，神话集 | |
参考例句： |
|
|
|
|
66
ransacked
|
|
| v.彻底搜查( ransack的过去式和过去分词 )；抢劫，掠夺 | |
参考例句： |
|
|
|
|
67
sneered
|
|
| 讥笑，冷笑( sneer的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
68
lasting
|
|
| adj.永久的，永恒的；vbl.持续，维持 | |
参考例句： |
|
|
|
|
69
emblematic
|
|
| adj.象征的，可当标志的；象征性 | |
参考例句： |
|
|
|
|
70
imposing
|
|
| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
参考例句： |
|
|
|
|
71
commemorate
|
|
| vt.纪念，庆祝 | |
参考例句： |
|
|
|
|
72
eldest
|
|
| adj.最年长的，最年老的 | |
参考例句： |
|
|
|
|
73
enchantment
|
|
| n.迷惑，妖术，魅力 | |
参考例句： |
|
|
|
|
74
zephyr
|
|
| n.和风，微风 | |
参考例句： |
|
|
|
|
75
ostensible
|
|
| adj.(指理由)表面的，假装的 | |
参考例句： |
|
|
|
|
76
festive
|
|
| adj.欢宴的，节日的 | |
参考例句： |
|
|
|
|
77
memoirs
|
|
| n.回忆录；回忆录传( mem,自oir的名词复数) | |
参考例句： |
|
|
|
|
78
censure
|
|
| v./n.责备；非难；责难 | |
参考例句： |
|
|
|
|
79
incentives
|
|
| 激励某人做某事的事物( incentive的名词复数 )； 刺激； 诱因； 动机 | |
参考例句： |
|
|
|
|
80
defile
|
|
| v.弄污，弄脏；n.(山间)小道 | |
参考例句： |
|
|
|
|
81
chamber
|
|
| n.房间，寝室；会议厅；议院；会所 | |
参考例句： |
|
|
|
|
82
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
83
prodigious
|
|
| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
参考例句： |
|
|
|
|
84
grove
|
|
| n.林子，小树林，园林 | |
参考例句： |
|
|
|
|
85
flora
|
|
| n.(某一地区的)植物群 | |
参考例句： |
|
|
|
|
86
hues
|
|
| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
参考例句： |
|
|
|
|
87
descended
|
|
| a.为...后裔的，出身于...的 | |
参考例句： |
|
|
|
|
88
transformation
|
|
| n.变化；改造；转变 | |
参考例句： |
|
|
|
|
89
parody
|
|
| n.打油诗文，诙谐的改编诗文，拙劣的模仿；v.拙劣模仿，作模仿诗文 | |
参考例句： |
|
|
|
|
90
arcades
|
|
| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
参考例句： |
|
|
|
|
91
plantations
|
|
| n.种植园，大农场( plantation的名词复数 ) | |
参考例句： |
|
|
|
|
92
carnival
|
|
| n.嘉年华会，狂欢，狂欢节，巡回表演 | |
参考例句： |
|
|
|
|
93
etiquette
|
|
| n.礼仪，礼节；规矩 | |
参考例句： |
|
|
|
|
94
apothecary
|
|
| n.药剂师 | |
参考例句： |
|
|
|
|
95
concealed
|
|
| a.隐藏的，隐蔽的 | |
参考例句： |
|
|
|
|
96
audacity
|
|
| n.大胆，卤莽，无礼 | |
参考例句： |
|
|
|
|
97
riotous
|
|
| adj.骚乱的；狂欢的 | |
参考例句： |
|
|
|
|
98
gatherings
|
|
| 聚集( gathering的名词复数 )； 收集； 采集； 搜集 | |
参考例句： |
|
|
|
|
99
suffocation
|
|
| n.窒息 | |
参考例句： |
|
|
|
|
100
noted
|
|
| adj.著名的，知名的 | |
参考例句： |
|
|
|
|
101
deafened
|
|
| 使聋( deafen的过去式和过去分词 )； 使隔音 | |
参考例句： |
|
|
|
|
102
distress
|
|
| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
参考例句： |
|
|
|
|
103
appalling
|
|
| adj.骇人听闻的，令人震惊的，可怕的 | |
参考例句： |
|
|
|
|
104
enrol
|
|
| v.（使）注册入学，（使）入学，（使）入会 | |
参考例句： |
|
|
|
|
105
gendarmes
|
|
| n.宪兵，警官( gendarme的名词复数 ) | |
参考例句： |
|
|
|
|
106
comedians
|
|
| n.喜剧演员，丑角( comedian的名词复数 ) | |
参考例句： |
|
|
|
|
107
extravagant
|
|
| adj.奢侈的；过分的；(言行等)放肆的 | |
参考例句： |
|
|
|
|
108
royalty
|
|
| n.皇家，皇族 | |
参考例句： |
|
|
|
|
109
dispense
|
|
| vt.分配，分发；配(药)，发(药)；实施 | |
参考例句： |
|
|
|
|
110
severely
|
|
| adv.严格地；严厉地；非常恶劣地 | |
参考例句： |
|
|
|
|
111
censured
|
|
| v.指责，非难，谴责( censure的过去式 ) | |
参考例句： |
|
|
|
|
112
poetic
|
|
| adj.富有诗意的，有诗人气质的，善于抒情的 | |
参考例句： |
|
|
|
|
113
mythological
|
|
| adj.神话的 | |
参考例句： |
|
|
|
|
114
interspersed
|
|
| adj.[医]散开的；点缀的v.intersperse的过去式和过去分词 | |
参考例句： |
|
|
|
|
115
celebrated
|
|
| adj.有名的，声誉卓著的 | |
参考例句： |
|
|
|
|
116
tavern
|
|
| n.小旅馆，客栈；小酒店 | |
参考例句： |
|
|
|
|
117
intoxicated
|
|
| 喝醉的，极其兴奋的 | |
参考例句： |
|
|
|
|
118
salmon
|
|
| n.鲑，大马哈鱼，橙红色的 | |
参考例句： |
|
|
|
|
119
procured
|
|
| v.（努力）取得， （设法）获得( procure的过去式和过去分词 )；拉皮条 | |
参考例句： |
|
|
|
|
120
anthem
|
|
| n.圣歌，赞美诗，颂歌 | |
参考例句： |
|
|
|
|
121
suite
|
|
| n.一套(家具)；套房；随从人员 | |
参考例句： |
|
|
|
|
122
counterfeit
|
|
| vt.伪造，仿造；adj.伪造的，假冒的 | |
参考例句： |
|
|
|
|
123
tune
|
|
| n.调子；和谐，协调；v.调音，调节，调整 | |
参考例句： |
|
|
|
|
124
fictitious
|
|
| adj.虚构的，假设的；空头的 | |
参考例句： |
|
|
|
|
125
insolence
|
|
| n.傲慢；无礼；厚颜；傲慢的态度 | |
参考例句： |
|
|
|
|
126
vindicate
|
|
| v.为…辩护或辩解，辩明；证明…正确 | |
参考例句： |
|
|
|
|
127
buffets
|
|
| （火车站的）饮食柜台( buffet的名词复数 )； （火车的）餐车； 自助餐 | |
参考例句： |
|
|
|
|
128
ERECTED
|
|
| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
参考例句： |
|
|
|
|
129
formerly
|
|
| adv.从前，以前 | |
参考例句： |
|
|
|
|
130
traitorous
|
|
| adj. 叛国的, 不忠的, 背信弃义的 | |
参考例句： |
|
|
|
|
131
imprisonment
|
|
| n.关押，监禁，坐牢 | |
参考例句： |
|
|
|
|
132
wrought
|
|
| v.引起；以…原料制作；运转；adj.制造的 | |
参考例句： |
|
|
|
|
133
depreciation
|
|
| n.价值低落，贬值，蔑视，贬低 | |
参考例句： |
|
|
|
|
134
tyrant
|
|
| n.暴君，专制的君主，残暴的人 | |
参考例句： |
|
|
|
|
135
vowed
|
|
| 起誓，发誓（vow的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
136
vengeance
|
|
| n.报复，报仇，复仇 | |
参考例句： |
|
|
|
|
137
avenge
|
|
| v.为...复仇，为...报仇 | |
参考例句： |
|
|
|
|
138
conspirators
|
|
| n.共谋者，阴谋家( conspirator的名词复数 ) | |
参考例句： |
|
|
|
|
139
farce
|
|
| n.闹剧，笑剧，滑稽戏；胡闹 | |
参考例句： |
|
|
|
|
140
profane
|
|
| adj.亵神的，亵渎的；vt.亵渎，玷污 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |