"Walt," I said, for I had heard that he disliked a more ceremonious prefix18, "I've come to tell you how much the Leaves have meant to me." "Ah!" he simply replied, and asked me to take a chair. To this hour I can see the humble19 room, but when I try to recall our conversation I fail. That it was on general literary subjects I know, but the main theme was myself. In five minutes Walt had pumped me dry. He did it in his quiet, sympathetic way, and, with the egoism of my age, I was not averse20 from relating to him the adventures of my soul. That Walt was a fluent talker one need but read his memoirs21 by Horace Traubel. Witness his tart22 allusion23 to Swinburne's criticism of himself: "Isn't he the damnedest simulacrum?" But he was a sphinx the first time I met him. I do recall that he said Poe wrote too much in a dark cellar, and that music was his chief recreation—of which art he knew nothing; it served him as a sounding background for his pencilled improvisations. I begged for an autograph. He told me of his interest in a certain asylum or hospital, whose name has gone clean out of my mind, and I paid my few dollars for the treasured signature. It is now one of my literary treasures.
If I forget the tenor24 of our discourse25 I have not forgotten the immense impression made upon [Pg 25] me by the man. As vain as a peacock, Walt looked like a Greek rhapsodist. Tall, imposing26 in bulk, his regular features, mild, light-blue or grey eyes, clear ruddy skin, plentiful27 white hair and beard, evoked28 an image of the magnificently fierce old men he chants in his book. But he wasn't fierce, his voice was a tenor of agreeable timbre29, and he was gentle, even to womanliness. Indeed, he was like a receptive, lovable old woman, the kind he celebrates so often. He never smoked, his only drink was water. I doubt if he ever drank spirits. His old friends say "No," although he is a terrible rake in print. Without suggesting effeminacy, he gave me the impression of a feminine soul in a masculine envelope. When President Lincoln first saw him he said: "Well, he looks like a man!" Perhaps Lincoln knew, for his remark has other connotations than the speech of Napoleon when he met Goethe: "Voilà un homme!" Hasn't Whitman asked in Calamus, the most revealing section of Leaves: "Do you suppose yourself advancing on real ground toward a real heroic man?" He also wrote of Calamus: "Here the frailest30 leaves of me.... Here I shade down and hide my thoughts. I do not express them. And yet they expose me more than all my other poems." Mr. Harlan, Secretary of the Interior, when he dismissed Walt from his department because of Leaves, did not know about the Calamus section—I believe they were not incorporated till later—but [Pg 26] Washington was acquainted with Walt and his idiosyncrasies, and, despite W. D. Connor's spirited vindication31, certain rumours32 would not be stifled33. Walt was thirty-six when Leaves appeared; forty-one when Calamus was written.
I left the old man after a hearty34 hand-shake, a So long! just as in his book, and returned to Philadelphia. Full of the day, I told my policeman at the ferry that I had seen Walt. "That old gas-bag comes here every afternoon. He gets free rides across the Delaware," and I rejoiced to think that a soulless corporation had some appreciation35 of a great poet, though the irreverence36 of this "powerful uneducated person" shocked me. When I reached home I also told my mother of my visit. She was plainly disturbed. She said that the writings of the man were immoral37, but she was pleased at my report of Walt's sanity38, sweetness, mellow39 optimism, and his magnetism40, like some natural force. I forgot, in my enthusiasm, that it was Walt who listened, I who gabbled. My father, who had never read Leaves, had sterner criticism to offer: "If I ever hear of you going to see that fellow you'll be sorry!" This coming from the most amiable41 of parents, surprised me. Later I discovered the root of his objection, for, to be quite frank, Walt did not bear a good reputation in Philadelphia, and I have heard him spoken of so contemptuously that it would bring a blush to the shining brow of a Whitmaniac. Yet dogs followed him and [Pg 27] children loved him. I saw Walt accidentally at intervals42, though never again in Camden. I met him on the streets, and several times took him from the Carl Gaertner String Quartet Concerts in the foyer of the Broad Street Academy of Music to the Market Street cars. He lumbered43 majestically44, his hairy breast exposed, but was a feeble old man, older than his years; paralysis45 had maimed him. He is said to have incurred46 it from his unselfish labours as nurse in the camp hospitals at Washington during the Civil War; however, it was in his family on the paternal47 side, and at thirty he was quite grey. The truth is, Walt was not the healthy hero he celebrates in his book. That he never dissipated we know; but his husky masculinity, his posing as the Great God Priapus in the garb48 of a Bowery boy is discounted by the facts. Parsiphallic, he was, but not of Pan's breed. In the Children of Adam, the part most unfavourably criticised of Leaves, he is the Great Bridegroom, and in no literature, ancient or modern, have been the "mysteries" of the temple of love so brutally49 exposed. With all his genius in naming certain unmentionable matters, I don't believe in the virility50 of these pieces, scintillating51 with sexual images. They leave one cold despite their erotic vehemence52; the abuse of the vocative is not persuasive53, their raptures54 are largely rhetorical. This exaltation, this ecstasy55, seen at its best in William Blake, is sexual ecstasy, but only when [Pg 28] the mood is married to the mot lumière is there authentic56 conflagration57. Then his "barbaric yawp is heard across the roofs of the world"; but in the underhumming harmonics of Calamus, where Walt really loafs and invites his soul, we get the real man, not the inflated58 hum-buggery of These States, Camerados, or My Message, which fills Leaves with their patriotic59 frounces. His philosophy is fudge. It was an artistic misfortune for Walt that he had a "mission," it is a worse one that his disciples60 endeavour to ape him. He was an unintellectual man who wrote conventionally when he was plain Walter Whitman, living in Brooklyn. But he imitated Ossian and Blake, and their singing robes ill-befitted his burly frame. If, in Poe, there is much "rant61 and rococo," Whitman is mostly yawping and yodling. He is destitute62 of humour, like the majority of "prophets" and uplifters, else he might have realised that a Democracy based on the "manly63 love of comrades" is an absurdity64. Not alone in Calamus, but scattered65 throughout Leaves, there are passages that fully66 warrant unprejudiced psychiatrists68 in styling this book the bible of the third sex.
But there is rude red music in the versicles of Leaves. They stimulate69, and, for some young hearts, they are as a call to battle. The book is a capital hunting-ground for quotations70. Such massive head-lines—that soon sink into platitudinous71 prose; such robust72 swinging rhythms, [Pg 29] Emerson told Walt that he must have had a "long foreground." It is true. Notwithstanding his catalogues of foreign countries, he was hardly a cosmopolitan73. Whitman's so-called "mysticism" is a muddled74 echo of New England Transcendentalism; itself a pale dilution75 of an outworn German idealism—what Coleridge called "the holy jungle of Transcendental metaphysics." His concrete imagination automatically rejected metaphysics. His chief asset is an extraordinary sensitiveness to the sense of touch; it is his distinguishing passion, and tactile76 images flood his work; this, and an eye that records appearances, the surface of things, and registers in phrases of splendour the picturesque77, yet seldom fuses matter and manner into a poetical78 synthesis. The community of interest between his ideas and images is rather affiliated79 than cognate80. He has a tremendous, though ill-assorted vocabulary. His prose is jolting81, rambling82, tumid, invertebrate83. An "arrant67 artist," as Mr. Brownell calls him, he lacks formal sense and the diffuseness84 and vagueness of his supreme85 effort—the Lincoln burial hymn—serves as a nebulous buffer86 between sheer over-praise and serious criticism. He contrives87 atmosphere with facility, and can achieve magical pictures of the sea and the "mad naked summer night." His early poem, Walt Whitman, is for me his most spontaneous offering. He has at times the primal88 gift of the poet—ecstasy; but to attain89 it he often wades90 through shallow, [Pg 30] ill-smelling sewers91, scales arid92 hills, traverses dull drab levels where the slag93 covers rich ore, or plunges94 into subterrene pools of nocturnal abominations—veritable regions of the "mother of dead dogs." Probably the sexlessness of Emerson's, Poe's, and Hawthorne's writings sent Whitman to an orgiastic extreme, and the morbid95, nasty-nice puritanism that then tainted96 English and American letters received its first challenge to come out into the open and face natural facts. Despite his fearlessness, one must subscribe97 to Edmund Clarence Stedman's epigram: "There are other lights in which a dear one may be regarded than as the future mother of men." Walt let in a lot of fresh air on the stuffy98 sex question of his day, but, in demanding equal sexual rights for women, he meant it in the reverse sense as propounded99 by our old grannies' purity leagues. Continence is not the sole virtue100 or charm in womanhood; nor, by the same token, is unchastity a brevet of feminine originality101. But women, as a rule, have not rallied to his doctrines102, instinctively103 feeling that he is indifferent to them, notwithstanding the heated homage104 he pays to their physical attractions. Good old Walt sang of his camerados, capons, Americanos, deck-hands, stagecoach-drivers, machinists, brakemen, firemen, sailors, butchers, bakers105, and candlestick makers106, and he associated with them; but they never read him or understood him. They prefer Longfellow. It is the cultured class he so despises [Pg 31] that discovered, lauded107 him, believing that he makes vocal108 the underground world; above all, believing that he truly represents America and the dwellers109 thereof—which he decidedly does not. We are, if you will, a commonplace people, but normal, and not enamoured of "athletic110 love of comrades." I remember a dinner given by the Whitman Society about twenty years ago, at the St. Denis Hotel, which was both grotesque111 and pitiable. The guest of honour was "Pete" Doyle, the former car-conductor and "young rebel friend of Walt's," then a middle-aged112 person. John Swinton, who presided, described Whitman as a troglodyte113, but a cave-dweller he never was; rather the avatar of the hobo. As John Jay Chapman wittily114 wrote: "He patiently lived on cold pie, and tramped the earth in triumph." Instead of essaying the varied115, expressive116, harmonious117 music of blank verse, he chose the easier, more clamorous118, and disorderly way; but if he had not so chosen we should have missed the salty tang of the true Walt Whitman. Toward the last there was too much Camden in his Cosmos119. Quite appropriately his dying word was le mot de Cambronne. It was the last victory of an organ over an organism. And he was a gay old pagan who never called a sin a sin when it was a pleasure.
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1 jersey | |
n.运动衫 | |
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2 asylum | |
n.避难所,庇护所,避难 | |
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3 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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4 hip | |
n.臀部,髋;屋脊 | |
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5 bard | |
n.吟游诗人 | |
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6 apparition | |
n.幽灵,神奇的现象 | |
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7 chestnut | |
n.栗树,栗子 | |
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8 convalesced | |
v.康复( convalesce的过去式 ) | |
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9 desperately | |
adv.极度渴望地,绝望地,孤注一掷地 | |
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10 apotheosis | |
n.神圣之理想;美化;颂扬 | |
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11 sonorous | |
adj.响亮的,回响的;adv.圆润低沉地;感人地;n.感人,堂皇 | |
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12 extravagant | |
adj.奢侈的;过分的;(言行等)放肆的 | |
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13 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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14 shackles | |
手铐( shackle的名词复数 ); 脚镣; 束缚; 羁绊 | |
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15 similes | |
(使用like或as等词语的)明喻( simile的名词复数 ) | |
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16 adolescence | |
n.青春期,青少年 | |
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17 amazement | |
n.惊奇,惊讶 | |
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18 prefix | |
n.前缀;vt.加…作为前缀;置于前面 | |
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19 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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20 averse | |
adj.厌恶的;反对的,不乐意的 | |
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21 memoirs | |
n.回忆录;回忆录传( mem,自oir的名词复数) | |
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22 tart | |
adj.酸的;尖酸的,刻薄的;n.果馅饼;淫妇 | |
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23 allusion | |
n.暗示,间接提示 | |
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24 tenor | |
n.男高音(歌手),次中音(乐器),要旨,大意 | |
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25 discourse | |
n.论文,演说;谈话;话语;vi.讲述,著述 | |
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26 imposing | |
adj.使人难忘的,壮丽的,堂皇的,雄伟的 | |
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27 plentiful | |
adj.富裕的,丰富的 | |
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28 evoked | |
[医]诱发的 | |
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29 timbre | |
n.音色,音质 | |
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30 frailest | |
脆弱的( frail的最高级 ); 易损的; 易碎的 | |
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31 vindication | |
n.洗冤,证实 | |
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32 rumours | |
n.传闻( rumour的名词复数 );风闻;谣言;谣传 | |
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33 stifled | |
(使)窒息, (使)窒闷( stifle的过去式和过去分词 ); 镇压,遏制; 堵 | |
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34 hearty | |
adj.热情友好的;衷心的;尽情的,纵情的 | |
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35 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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36 irreverence | |
n.不尊敬 | |
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37 immoral | |
adj.不道德的,淫荡的,荒淫的,有伤风化的 | |
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38 sanity | |
n.心智健全,神智正常,判断正确 | |
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39 mellow | |
adj.柔和的;熟透的;v.变柔和;(使)成熟 | |
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40 magnetism | |
n.磁性,吸引力,磁学 | |
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41 amiable | |
adj.和蔼可亲的,友善的,亲切的 | |
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42 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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43 lumbered | |
砍伐(lumber的过去式与过去分词形式) | |
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44 majestically | |
雄伟地; 庄重地; 威严地; 崇高地 | |
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45 paralysis | |
n.麻痹(症);瘫痪(症) | |
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46 incurred | |
[医]招致的,遭受的; incur的过去式 | |
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47 paternal | |
adj.父亲的,像父亲的,父系的,父方的 | |
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48 garb | |
n.服装,装束 | |
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49 brutally | |
adv.残忍地,野蛮地,冷酷无情地 | |
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50 virility | |
n.雄劲,丈夫气 | |
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51 scintillating | |
adj.才气横溢的,闪闪发光的; 闪烁的 | |
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52 vehemence | |
n.热切;激烈;愤怒 | |
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53 persuasive | |
adj.有说服力的,能说得使人相信的 | |
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54 raptures | |
极度欢喜( rapture的名词复数 ) | |
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55 ecstasy | |
n.狂喜,心醉神怡,入迷 | |
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56 authentic | |
a.真的,真正的;可靠的,可信的,有根据的 | |
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57 conflagration | |
n.建筑物或森林大火 | |
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58 inflated | |
adj.(价格)飞涨的;(通货)膨胀的;言过其实的;充了气的v.使充气(于轮胎、气球等)( inflate的过去式和过去分词 );(使)膨胀;(使)通货膨胀;物价上涨 | |
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59 patriotic | |
adj.爱国的,有爱国心的 | |
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60 disciples | |
n.信徒( disciple的名词复数 );门徒;耶稣的信徒;(尤指)耶稣十二门徒之一 | |
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61 rant | |
v.咆哮;怒吼;n.大话;粗野的话 | |
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62 destitute | |
adj.缺乏的;穷困的 | |
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63 manly | |
adj.有男子气概的;adv.男子般地,果断地 | |
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64 absurdity | |
n.荒谬,愚蠢;谬论 | |
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65 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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66 fully | |
adv.完全地,全部地,彻底地;充分地 | |
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67 arrant | |
adj.极端的;最大的 | |
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68 psychiatrists | |
n.精神病专家,精神病医生( psychiatrist的名词复数 ) | |
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69 stimulate | |
vt.刺激,使兴奋;激励,使…振奋 | |
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70 quotations | |
n.引用( quotation的名词复数 );[商业]行情(报告);(货物或股票的)市价;时价 | |
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71 platitudinous | |
adj.平凡的,陈腐的 | |
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72 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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73 cosmopolitan | |
adj.世界性的,全世界的,四海为家的,全球的 | |
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74 muddled | |
adj.混乱的;糊涂的;头脑昏昏然的v.弄乱,弄糟( muddle的过去式);使糊涂;对付,混日子 | |
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75 dilution | |
n.稀释,淡化 | |
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76 tactile | |
adj.触觉的,有触觉的,能触知的 | |
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77 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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78 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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79 affiliated | |
adj. 附属的, 有关连的 | |
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80 cognate | |
adj.同类的,同源的,同族的;n.同家族的人,同源词 | |
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81 jolting | |
adj.令人震惊的 | |
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82 rambling | |
adj.[建]凌乱的,杂乱的 | |
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83 invertebrate | |
n.无脊椎动物 | |
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84 diffuseness | |
漫射,扩散 | |
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85 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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86 buffer | |
n.起缓冲作用的人(或物),缓冲器;vt.缓冲 | |
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87 contrives | |
(不顾困难地)促成某事( contrive的第三人称单数 ); 巧妙地策划,精巧地制造(如机器); 设法做到 | |
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88 primal | |
adj.原始的;最重要的 | |
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89 attain | |
vt.达到,获得,完成 | |
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90 wades | |
(从水、泥等)蹚,走过,跋( wade的第三人称单数 ) | |
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91 sewers | |
n.阴沟,污水管,下水道( sewer的名词复数 ) | |
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92 arid | |
adj.干旱的;(土地)贫瘠的 | |
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93 slag | |
n.熔渣,铁屑,矿渣;v.使变成熔渣,变熔渣 | |
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94 plunges | |
n.跳进,投入vt.使投入,使插入,使陷入vi.投入,跳进,陷入v.颠簸( plunge的第三人称单数 );暴跌;骤降;突降 | |
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95 morbid | |
adj.病的;致病的;病态的;可怕的 | |
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96 tainted | |
adj.腐坏的;污染的;沾污的;感染的v.使变质( taint的过去式和过去分词 );使污染;败坏;被污染,腐坏,败坏 | |
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97 subscribe | |
vi.(to)订阅,订购;同意;vt.捐助,赞助 | |
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98 stuffy | |
adj.不透气的,闷热的 | |
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99 propounded | |
v.提出(问题、计划等)供考虑[讨论],提议( propound的过去式和过去分词 ) | |
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100 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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101 originality | |
n.创造力,独创性;新颖 | |
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102 doctrines | |
n.教条( doctrine的名词复数 );教义;学说;(政府政策的)正式声明 | |
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103 instinctively | |
adv.本能地 | |
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104 homage | |
n.尊敬,敬意,崇敬 | |
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105 bakers | |
n.面包师( baker的名词复数 );面包店;面包店店主;十三 | |
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106 makers | |
n.制造者,制造商(maker的复数形式) | |
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107 lauded | |
v.称赞,赞美( laud的过去式和过去分词 ) | |
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108 vocal | |
adj.直言不讳的;嗓音的;n.[pl.]声乐节目 | |
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109 dwellers | |
n.居民,居住者( dweller的名词复数 ) | |
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110 athletic | |
adj.擅长运动的,强健的;活跃的,体格健壮的 | |
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111 grotesque | |
adj.怪诞的,丑陋的;n.怪诞的图案,怪人(物) | |
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112 middle-aged | |
adj.中年的 | |
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113 troglodyte | |
n.古代穴居者;井底之蛙 | |
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114 wittily | |
机智地,机敏地 | |
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115 varied | |
adj.多样的,多变化的 | |
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116 expressive | |
adj.表现的,表达…的,富于表情的 | |
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117 harmonious | |
adj.和睦的,调和的,和谐的,协调的 | |
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118 clamorous | |
adj.吵闹的,喧哗的 | |
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119 cosmos | |
n.宇宙;秩序,和谐 | |
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