CHAPTER V THE DEVELOPMENT OF MEDIAEVAL CHORUS MUSIC

It has already been noted¹ that the music of the Catholic Church has passed through three typical phases or styles, each complete in itself, bounded by clearly marked lines, corresponding quite closely in respect to time divisions with the three major epochs into which the history of the Western Church may be divided. These phases or schools of ecclesiastical song are so far from being mutually exclusive that both the first and second persisted after the introduction of the third, so that at the present day at least two of the three forms are in use in almost every Catholic congregation, the Gregorian chant being employed in the song of the priest and in the antiphonal psalms⁵ and responses, and either the second or third form being adopted in the remaining offices.[63]

Since harmony was unknown during the first one thousand years or more of the Christian⁷ era, and instrumental music had no independent existence, the whole vast system of chant melodies was purely⁸ unison⁹ and unaccompanied, its rhythm usually subordinated to that of the text. Melody, unsupported by harmony, soon [130] runs its course, and if no new principle had been added to this antique melodic¹⁰ method, European music would have become petrified¹¹ or else have gone on copying itself indefinitely. But about the eleventh century a new conception made its appearance, in which lay the assurance of the whole magnificent art of modern music. This new principle was that of harmony, the combination of two or more simultaneous and mutually dependent parts. The importance of this discovery needs no emphasis. It not only introduced an artistic¹² agency that is practically unlimited¹³ in scope and variety, but it made music for the first time a free art, with its laws of rhythm and structure no longer identical with those of language, but drawn¹⁴ from the powers that lie inherent in its own nature. Out of the impulse to combine two or more parts together in complete freedom from the constraints¹⁵ of verbal accent and prosody¹⁶ sprang the second great school of church music, which, likewise independent of instrumental accompaniment, developed along purely vocal¹⁷ lines, and issued in the contrapuntal chorus music which attained¹⁸ its maturity²⁰ in the last half of the sixteenth century.

This mediaeval school of a capella polyphonic music is in many respects more attractive to the student of ecclesiastical art than even the far more elaborate and brilliant style which prevails to-day. Modern church music, by virtue²² of its variety, splendor²³, and dramatic pathos²⁴, seems to be tinged²⁵ with the hues²⁶ of earthliness which belie²⁷ the strictest conception of ecclesiastical art. It partakes of the doubt and turmoil²⁸ of a skeptical²⁹ and rebellious³⁰ age, it is the music of impassioned longing³¹ [131] in which are mingled³² echoes of worldly allurements³³, it is not the chastened tone of pious³⁵ assurance and self-abnegation. The choral song developed in the ages of faith is pervaded³⁶ by the accents of that calm ecstasy³⁷ of trust and celestial³⁸ anticipation³⁹ which give to mediaeval art that exquisite⁴⁰ charm of na?veté and sincerity⁴¹ never again to be realized through the same medium, because it is the unconscious expression of an unquestioning simplicity⁴² of conviction which seems to have passed away forever from the higher manifestations⁴³ of the human creative intellect.

Such pathetic suggestion clings to the religious music of the Middle Age no less palpably than to the sculpture, painting, and hymnody of the same era, and combines with its singular artistic perfection and loftiness of tone to render it perhaps the most typical and lovely of all the forms of Catholic art. And yet to the generality of students of church and art history it is of all the products of the Middle Age the least familiar. Any intellectual man whom we might select would call himself but scantily⁴⁶ educated if he had no acquaintance with mediaeval architecture and plastic art; yet he would probably not feel at all ashamed to confess total ignorance of that vast store of liturgic music which in the fifteenth and sixteenth centuries filled the incense-laden air of those very cathedrals and chapels⁴⁸ in which his reverent⁴⁹ feet so love to wander. The miracles of mediaeval architecture, the achievements of the Gothic sculptors⁵⁰ and the religious painters of Florence, Cologne, and Flanders are familiar to him, but the musical craftsmen⁵² of the Low Countries, Paris, Rome, and Venice, who clothed [132] every prayer, hymn⁴⁵, and Scripture⁵³ lesson with strains of unique beauty and tenderness, are only names, if indeed their names are known to him at all. Yet in sheer bulk their works would doubtless be found to equal the whole amount of the music of every kind that has been written in the three centuries following their era; while in technical mastery and adaptation to its special end this school is not unworthy of comparison with the more brilliant and versatile⁵⁵ art of the present day.

The period from the twelfth century to the close of the sixteenth was one of extraordinary musical activity. The thousands of cathedrals, chapels, parish churches, and convents were unceasing in their demands for new settings of the Mass and offices. Until the art of printing was applied⁵⁶ to musical notes about the year 1500, followed by the foundation of musical publishing houses, there was but little duplication or exchange of musical compositions, and thus every important ecclesiastical establishment must be provided with its own corps⁵⁷ of composers and copyists. The religious enthusiasm and the vigorous intellectual activity of the Middle Age found as free a channel of discharge in song as in any other means of embellishment of the church ceremonial. These conditions, together with the absence of an operatic stage, a concert system, or a musical public, turned the fertile musical impulses of the period to the benefit of the Church. The ecclesiastical musicians also set to music vast numbers of madrigals, chansons, villanellas, and the like, for the entertainment of aristocratic patrons, but this was only an incidental deflection from their more serious duties as ritual composers. In quality [133] as well as quantity the mediaeval chorus music was not unworthy of comparison with the architectural, sculptural, pictorial⁶⁰, and textile products which were created in the same epoch³ and under the same auspices⁶¹. The world has never witnessed a more absorbed devotion to a single artistic idea, neither has there existed since the golden age of Greek sculpture another art form so lofty in expression and so perfect in workmanship as the polyphonic church chorus in the years of its maturity. That style of musical art which was brought to fruition by such men as Josquin des Prés, Orlandus Lassus, Willaert, Palestrina, Vittoria, the Anerios, the Gabrielis, and Lotti is not unworthy to be compared with the Gothic cathedrals in whose epoch it arose and with the later triumphs of Renaissance⁶² painting with which it culminated⁶³.

Of this remarkable⁶⁴ achievement of genius the educated man above mentioned knows little or nothing. How is it possible, he might ask, that a school of art so opulent in results, capable of arousing so much admiration⁶⁵ among the initiated⁶⁶, could have dominated all Europe for five such brilliant centuries, and yet have left so little impress upon the consciousness of the modern world, if it really possessed⁶⁷ the high artistic merits that are claimed for it? The answer is not difficult. For the world at large music exists only as it is performed, and the difficulty and expense of musical performance insure, as a general rule, the neglect of compositions that do not arouse a public demand. Church music is less susceptible⁶⁸ than secular⁶⁹ to the tyranny of fashion, but even in this department changing tastes and the politic⁷⁰ compromising spirit tend to pay court to [134] novelty and to neglect the antiquated⁷². The revolution in musical taste and practice which occurred early in the seventeenth century—a revolution so complete that it metamorphosed the whole conception of the nature and purpose of music—swept all musical production off into new directions, and the complex austere⁷³ art of the mediaeval Church was forgotten under the fascination⁷⁴ of the new Italian melody and the vivid rhythm and tone-color of the orchestra. Since then the tide of invention has never paused long enough to enable the world at large to turn its thought to the forsaken⁷⁵ treasures of the past. Moreover, only a comparatively minute part of this multitude of old works has ever been printed, much of it has been lost, the greater portion lies buried in the dust of libraries; whatever is accessible must be released from an abstruse⁷⁶ and obsolete⁷⁷ system of notation⁷⁸, and the methods of performance, which conditioned a large measure of its effect, must be restored under the uncertain guidance of tradition. The usages of chorus singing in the present era do not prepare singers to cope with the peculiar⁷⁹ difficulties of the a capella style; a special education and an unwonted mode of feeling are required for an appreciation⁸⁰ of its appropriateness and beauty. Nevertheless, such is its inherent vitality⁸¹, so magical is its attraction to one who has come into complete harmony with its spirit, so true is it as an exponent⁸² of the mystical submissive type of piety⁸³ which always tends to reassert itself in a rationalistic age like the present, that the minds of churchmen are gradually returning to it, and scholars and musical directors are tempting⁸⁴ it forth⁸⁵ from its seclusion⁸⁶. Societies are founded for its study, [135] choirs⁸⁷ in some of the most influential⁸⁹ church centres are adding mediaeval works to their repertories, journals and schools are laboring⁹⁰ in its interest, and its influence is insinuating⁹¹ itself into the modern mass and anthem⁹², lending to the modern forms a more elevated and spiritual quality. Little by little the world of culture is becoming enlightened in respect to the unique beauty and refinement⁹³ of this form of art; and the more intelligent study of the Middle Age, which has now taken the place of the former prejudiced misinterpretation, is forming an attitude of mind that is capable of a sympathetic response to this most exquisite and characteristic of all the products of mediaeval genius.

In order to seize the full significance of this school of Catholic music in its mature stage in the sixteenth century, it will be necessary to trace its origin and growth. The constructive⁹⁴ criticism of the present day rests on the principle that we cannot comprehend works and schools of art unless we know their causes and environment. We shall find as we examine the history of mediaeval choral song, that it arose in response to an instinctive⁹⁵ demand for a more expansive form of music than the unison chant. Liturgic necessities can in no wise account for the invention of part singing, for even today the Gregorian Plain Song remains⁹⁶ the one officially recognized form of ritual music in the Catholic Church. It was an unconscious impulse, prophesying⁹⁷ a richer musical expression which could not at once be realized,—a blind revolt of the European mind against bondage⁹⁸ to an antique and restrictive form of expression. For the Gregorian chant by its very nature as unaccompanied [136] melody, rhythmically¹⁰⁰ controlled by prose accent and measure, was incapable¹⁰¹ of further development, and it was impossible that music should remain at a stand-still while all the other arts were undergoing the pains of growth. The movement which elicited¹⁰² the art of choral song from the latent powers of the liturgic chant was identical with the tendency which evolved Gothic and Renaissance architecture, sculpture, and painting out of Roman and Byzantine art. Melody unsupported soon runs its course; harmony, music in parts, with contrast of consonance and dissonance, dynamics¹⁰³, and light and shade, must supplement melody, adding more opulent resources to the simple charm of tone and rhythm. The science of harmony, at least in the modern sense, was unknown in antiquity¹⁰⁴, and the Gregorian chant was but the projection¹⁰⁵ of the antique usage into the modern world. The history of modern European music, therefore, begins with the first authentic¹⁰⁶ instances of singing in two or more semi-independent parts, these parts being subjected to a definite proportional notation.

A century or so before the science of part writing had taken root in musical practice, a strange barbaric form of music meets our eyes. A manuscript of the tenth century, formerly¹⁰⁷ ascribed to Hucbald of St. Armand, who lived, however, a century earlier, gives the first distinct account, with rules for performance, of a divergence¹⁰⁸ from the custom of unison singing, by which the voices of the choir⁸⁸, instead of all singing the same notes, move along together separated by octaves and fourths or octaves and fifths; or else a second voice accompanies the first by a movement sometimes direct, sometimes [137] oblique¹⁰⁹, and sometimes contrary. The author of this manuscript makes no claim to the invention of this manner of singing, but alludes¹¹⁰ to it as something already well known. Much speculation¹¹¹ has been expended¹¹² upon the question of the origin and purpose of the first form of this barbarous orgunum or diaphony, as it was called. Some conjecture¹¹³ that it was suggested by the sound of the ancient Keltic stringed instrument crowth or crotta, which was tuned¹¹⁴ in fifths and had a flat finger-board; others find in it an imitation of the early organ with its several rows of pipes sounding fifths like a modern mixture stop; while others suppose, with some reason, that it was a survival of a fashion practised among the Greeks and Rornans. The importance of the organum in music history has, however, been greatly overrated, for properly speaking it was not harmony or part singing at all, but only another kind of unison. Even the second form of organum was but little nearer the final goal, for the attendant note series was not free enough to be called an organic element in a harmonic structure. As soon, however, as the accompanying part was allowed ever so little unconstrained life of its own, the first steps in genuine part writing were taken, and a new epoch in musical history had begun.
Example of Organum or Diaphony, First Species
Example of Organum or Diaphony, First Species

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Example of Organum or Diaphony, Second Species
Example of Organum or Diaphony, Second Species

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The freer and more promising⁷¹ style which issued from the treadmill¹¹⁷ of the organum was called in its initial stages discant (Lat. discantus), and was at first wholly confined to an irregular mixture of octaves, unisons, fifths and fourths, with an occasional third as a sort of concession¹¹⁸ to the criticism of the natural ear upon antique theory. At first two parts only were employed. Occasional successions of parallel fifths and fourths, the heritage of the organum, long survived, but they were gradually eliminated as hollow and unsatisfying, and the principle of contrary motion, which is the very soul of all modern harmony and counterpoint, was slowly established. It must be borne in mind, as the clue to all mediaeval music, that the practice of tone combination involved no idea whatever of chords, as modern theory conceives them. The characteristic principle of the vastly [139] preponderating¹¹⁹ portion of the music of the last three centuries is harmony, technically¹²⁰ so called, i.e., chords, solid or distributed, out of which melody is primarily evolved. Homophony, monody—one part sustaining the tune¹¹⁵ while all others serve as the support and, so to speak, the coloring material also—is now the ruling postulate¹²¹. The chorus music of Europe down to the seventeenth century was, on the other hand, based on melody; the composer never thought of his combination as chords, but worked, we might say, horizontally, weaving together several semi-independent melodies into a flexible and accordant tissue.[64]

The transition from organum to discant was effected about the year 1100. There was for a time no thought of the invention of the component¹²² melodies. Not only the cantus firmus (the principal theme), but also the counterpoint (the melodic “running mate”), was borrowed, the second factor being frequently a folk-tune altered to fit the chant melody, according to the simple laws of euphony¹²³ then admitted. In respect to the words the discant may be divided into two classes: the words might be the same in both parts; or one voice would sing the text of the office of the Church, and the other the words of the secular song from which the accompanying tune was taken. In the twelfth century the monkish¹²⁴ musicians, stirred to bolder flights by the satisfactory results of their two-part discant, essayed three parts, with results at first childishly awkward, but with growing ease and smoothness. Free invention of the accompanying [141] parts took the place of the custom of borrowing the entire melodic framework, for while two borrowed themes might fit each other, it was practically impossible to find three that would do so without almost complete alteration¹²⁵. As a scientific method of writing developed, with the combination of parallel and contrary motion, the term discant gave way to counterpoint (Lat. punctus contra punctum). But there was never any thought of inventing the cantus firmus; this was invariably taken from a ritual book or a popular tune, and the whole art of composition consisted in fabricating melodic figures that would unite with it in an agreeable synthesis. These contrapuntal devices, at first simple and often harsh, under the inevitable¹²⁷ law of evolution became more free and mellifluous¹²⁸ at the same time that they became more complex. The primitive¹²⁹ discant was one note against one note; later the accompanying part was allowed to sing several notes against one of the cantus firmus. Another early form consisted of notes interrupted by rests. In the twelfth century such progress had been made that thirds and sixths were abundantly admitted, dissonant¹³⁰ intervals¹³¹ were made to resolve upon [142] consonances, consecutive¹³³ fifths were avoided, passing notes and embellishments were used in the accompanying voices, and the beginnings of double counterpoint and imitation appeared. Little advance was made in the thirteenth century; music was still chiefly a matter of scholastic¹³⁴ theory, a mechanical handicraft. Considerable dexterity¹³⁵ had been attained in the handling of three simultaneous, independent parts. Contrary and parallel motion alternating for variety’s sake, contrast of consonance and dissonance, a system of notation by which time values as well as differences of pitch could be indicated, together with a recognition of the importance of rhythm as an ingredient in musical effect,—all this foreshadowed the time when the material of tonal art would be plastic in the composer’s hand, and he would be able to mould it into forms of fluent grace, pregnant with meaning. This final goal was still far away; the dull, plodding¹³⁶ round of apprenticeship¹³⁷ must go on through the fourteenth century also, and the whole conscious aim of effort must be directed to the invention of scientific combinations which might ultimately provide a vehicle for the freer action of the imagination.
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Example of Discant in Three Parts with Different Words (Twelfth Century).

From Coussemaker, Histoire de l’harmonie au moyen age. Translated into modern notation.
Example of Discant in Three Parts with Different Words (Twelfth Century).

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The period from the eleventh to the fifteenth centuries was, therefore, not one of expressive¹³⁹ art work, but rather of slow and arduous¹⁴⁰ experiment. The problem was so to adjust the semi-independent melodious¹⁴¹ parts that an unimpeded life might be preserved in all the voices, and yet the combined effect be at any instant pure and beautiful. The larger the number of parts, the greater the skill required to weave them together into a [143] varied¹⁴², rich, and euphonious¹⁴³ pattern. Any one of these parts might for the moment hold the place of the leading part which the others were constrained¹¹⁶ to follow through the mazes¹⁴⁴ of the design. Hence the term polyphonic, i.e., many-voiced. Although each voice part was as important as any other in this living musical texture¹⁴⁵, yet each section took its cue from a single melody—a fragment of a Gregorian chant or a folk-tune and called the cantus firmus, and also known as the tenor¹⁴⁶, from teneo, to hold—and the voice that gave out this melody came to be called the tenor voice. In the later phases of this art the first utterance¹⁴⁷ of the theme was assigned indifferently to any one of the voice parts.

After confidence had been gained in devising two or more parts to be sung simultaneously¹⁴⁸, the next step was to bring in one part after another. Some method of securing unity¹⁴⁹ amid variety was now necessary, and this was found in the contrivance known as “imitation,” by which one voice follows another through the same or approximate intervals, the part first sounded acting¹⁵⁰ as a model for a short distance, then perhaps another taking up the leadership with a new melodic figure, the intricate network of parts thus revealing itself as a coherent organism rather than a fortuitous conjunction of notes, the composer’s invention and the hearers’ impression controlled by a conscious plan to which each melodic part is tributary¹⁵¹.

When a number of parts came to be used together, the need of fixing the pitch and length of notes with precision became imperative¹⁵². So out of the antique mnemonic signs, which had done useful service during [144] the exclusive régime of the unison chant, there was gradually developed a system of square-headed notes, together with a staff of lines and spaces. But instead of simplicity a bewildering complexity¹⁵³ reigned¹⁵⁴ for centuries. Many clefs were used, shifting their place on the staff in order to keep the notes within the lines; subtleties¹⁵⁵, many and deep, were introduced, and the matter of rhythm, key relations, contrapuntal structure, and method of singing became a thing abstruse and recondite¹⁵⁶. Composition was more like algebraic calculation than free art; symbolisms of trinity and unity, of perfect and imperfect, were entangled¹⁵⁷ in the notation, to the delight of the ingenious monkish intellect and the despair of the neophyte¹⁵⁹ and the modern student of mediaeval manuscripts. Progress was slowest at the beginning. It seemed an interminable task to learn to put a number of parts together with any degree of ease, and for many generations after it was first attempted the results were harsh and uncouth¹⁶⁰.

Even taking into account the obstacles to rapid development which exist in the very nature of music as the most abstract of the arts, it seems difficult to understand why it should have been so long in acquiring beauty and expression. There was a shorter way to both, but the church musicians would not take it. All around them bloomed a rich verdure of graceful¹⁶¹ expressive melody in the song and instrumental play of the common people. But the monkish musicians and choristers scorned to follow the lead of anything so artless and obvious. In a scholastic age they were musical scholastics; subtilty and fine pedantic¹⁶² distinctions were their pride. They had become infatuated with the formal and technical, and they seemed indifferent to the claims of the natural and simple while carried away by a passion for intricate structural¹⁶³ problems.
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The growth of such an art as this, without models, must necessarily be painfully slow. Many of the cloistered¹⁶⁶ experimenters passed their lives in nursing an infant art without seeing enough progress to justify¹⁶⁷ any very strong faith in the bantling’s future. Their floundering helplessness is often pathetic, but not enough so to overcome a smile at the futility¹⁶⁸ of their devices. Practice and theory did not always work amiably¹⁶⁹ together. In studying the chorus music of the Middle Age, we must observe that, as in the case of the liturgic chant, the singers did not deem it necessary to confine themselves to the notes actually written. In this formative period of which we are speaking it was the privilege of the singers to vary and decorate the written phrases according to their good pleasure. These adornments were sometimes carefully thought out, incorporated into the stated method of delivery, and handed down as traditions.[65] But it is evident that in the earlier days of counterpoint these variations were often extemporized¹⁷¹ on the spur of the moment. The result of this habit on the part of singers who were ignorant of the laws of musical consonance and proportion, and whose ears were as dull as their understandings, could easily be conceived even if we did not have before us the indignant testimony¹⁷² [146] of many musicians and churchmen of the period. Jean Cotton, in the eleventh century, says that he could only compare the singers with drunken men, who indeed find their way home, but do not know how they get there. The learned theorist, Jean de Muris, of the fourteenth century, exclaims: “How can men have the face to sing discant who know nothing of the combination of sounds! Their voices roam around the cantus firmus without regard to any rule; they throw their tones out by luck, just as an unskilful thrower hurls¹⁷⁴ a stone, hitting the mark once in a hundred casts.” As he broods over the abuse his wrath¹⁷⁵ increases. “O roughness, O bestiality! taking an ass² for a man, a kid for a lion, a sheep for a fish. They cannot tell a consonance from a dissonance. They are like a blind man trying to strike a dog.” Another censor¹⁷⁶ apostrophizes the singers thus: “Does such oxen bellowing¹⁷⁷ belong in the Church? Is it believed that God can be graciously inclined by such an uproar¹⁷⁸?” Oelred, the Scottish abbot of Riverby in the twelfth century, rails at the singers for jumbling¹⁷⁹ the tones together in every kind of distortion, for imitating the whinnying of horses, or (worst of all in his eyes) sharpening their voices like those of women. He tells how the singers bring in the aid of absurd gestures to enhance the effect of their preposterous¹⁸⁰ strains, swaying their bodies, twisting their lips, rolling their eyes, and bending their fingers, with each note. A number of popes, notably¹⁸¹ John XXII., tried to suppress these offences, but the extemporized discant was too fascinating a plaything to be dropped, and ridicule¹⁸² and pontifical¹⁸³ rebuke¹⁸⁴ were alike powerless.
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Such abuses were, of course, not universal, perhaps not general,—as to that we cannot tell; but they illustrate¹⁸⁵ the chaotic¹⁸⁷ condition of church music in the three or four centuries following the first adoption¹⁸⁸ of part singing. The struggle for light was persistent¹⁸⁹, and music, however crude and halting, received abundant measure of the reverence¹⁹⁰ which, in the age that saw the building of the Gothic cathedrals, was accorded to everything that was identified with the Catholic religion. There were no forms of music that could rival the song of the Church,—secular music at the best was a plaything, not an art. The whole endeavor of the learned musicians was addressed to the enrichment of the church service, and the wealthy and powerful princes of France, Italy, Austria, Spain, and England turned the patronage¹⁹¹ of music at their courts in the same channel with the patronage of the Church. It was in the princely chapels of Northern France and the schools attached to them that the new art of counterpoint was first cultivated. So far as the line of progress can be traced, the art originated in Paris or its vicinity, and slowly spread over the adjacent country. The home of Gothic architecture was the home of mediaeval chorus music, and the date of the appearance of these two products is the same. The princes of France and Flanders (the term France at that period meaning the dominions¹⁹² of the Capetian dynasty) faithfully guarded the interests of religious music, and the theorists and composers of this time were officers of the secular government as well as of the Church. We should naturally suppose that church music would be actively¹⁹³ supported by a king so pious as Robert of France [148] (eleventh century), who discarded his well-beloved wife at the command of Pope Gregory V. because she was his second cousin, who held himself pure and magnanimous in the midst of a fierce and corrupt¹⁹⁴ age, and who composed many beautiful hymns¹⁹⁵, including (as is generally agreed) the exquisite Sequence, Veni Sancte Spiritus. He was accustomed to lead the choir in his chapel⁴⁷ by voice and gesture. He carried on all his journeys a little prayer chamber¹⁹⁶ in the form of a tent, in which he sang at the stated daily hours to the praise of God. Louis IX. also, worthily¹⁹⁷ canonized for the holiness of his life, made the cultivation¹⁹⁸ of church song one of the most urgent of his duties. Every day he heard two Masses, sometimes three or four. At the canonical¹⁹⁹ hours hymns and prayers were chanted by his chapel choir, and even on his crusades his choristers went before him on the march, singing the office for the day, and the king, a priest by his side, sang in a low voice after them. Rulers of a precisely²⁰⁰ opposite character, the craftiest²⁰¹ and most violent in a guileful²⁰² and brutal²⁰³ age, were zealous²⁰⁴ patrons of church music. Even during that era of slaughter²⁰⁶ and misery²⁰⁷ when the French kingship was striding to supremacy²⁰⁸ over the bodies of the great vassals²⁰⁹, and struggling with England for very existence in the One Hundred Years’ War, the art of music steadily²¹⁰ advanced, and the royal and ducal chapels flourished. Amid such conditions and under such patronage accomplished²¹¹ musicians were nurtured²¹³ in France and the Low Countries, and thence they went forth to teach all Europe the noble art of counterpoint.
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About the year 1350 church music had cast off its swaddling bands and had entered upon the stage that was soon to lead up to maturity. With the opening of the fifteenth century compositions worthy⁵⁴ to be called artistic were produced. These were hardly yet beautiful according to modern standards, certainly they had little or no characteristic expression, but they had begun to be pliable²¹⁴ and smooth sounding, showing that the notes had come under the composer’s control, and that he was no longer an awkward apprentice¹³⁸. From the early part of the fifteenth century we date the epoch of artistic polyphony, which advanced in purity and dignity until it culminated in the perfected art of the sixteenth century. So large a proportion of the fathers and high priests of mediaeval counterpoint belonged to the districts now included in Northern France, Belgium, and Holland that the period bounded by the years 1400 and 1550 is known in music history as “the age of the Netherlanders.” With limitless patience and cunning, the French and Netherland musical artificers applied themselves to the problems of counterpoint, producing works enormous in quantity and often of bewildering intricacy. Great numbers of pupils were trained in the convents and chapel schools, becoming masters in their turn, and exercising commanding influence in the churches and cloisters²¹⁶ of all Europe. Complexity in part writing steadily increased, not only in combinations of notes, but also in the means of indicating their employment. It often happened that each voice must sing to a measure sign that was different from that provided for the other voices. Double and triple rhythm alternated, the value of notes of the same character varied in different circumstances; [150] a highly sophisticated symbolism was invented, known as “riddle canons,” by which adepts²¹⁷ were enabled to improvise²¹⁸ accompanying parts to the cantus firmus; and counterpoint, single and double, augmented²¹⁹ and diminished, direct, inverted²²⁰, and retrograde, became at once the end and the means of musical endeavor. Rhythm was obscured and the words almost hopelessly lost in the web of crossing parts. The cantus firmus, often extended into notes of portentous²²¹ length, lost all expressive quality, and was treated only as a thread upon which this closely woven fabric¹²⁶ was strung. Composers occupied themselves by preference with the mechanical side of music; quite unimaginative, they were absorbed in solving technical problems; and so they went on piling up difficulties for their fellow-craftsmen to match, making music for the eye rather than for the ear, for the logical faculty²²² rather than for the fancy or the emotion.

It would, however, be an error to suppose that such labored²²³ artifice²¹⁵ was the sole characteristic of the scientific music of the fifteenth century. The same composers who revelled²²⁴ in the exercise of this kind of scholastic subtlety²²⁵ also furnished their choirs with a vast amount of music in four, five, and six parts, complex and difficult indeed from the present point of view, but for the choristers as then trained perfectly²²⁶ available, in which there was a striving for solemn devotional effect, a melodious leading of the voices, and the adjustment of phrases into bolder and more symmetrical patterns. Even among the master fabricators of musical labyrinths²²⁷ we find glimpses of a recognition of the true [151] final aim of music, a soul dwelling²²⁸ in the tangled¹⁵⁸ skeins of their polyphony, a grace and inwardness of expression comparable to the poetic²²⁹ suggestiveness which shines through the na?ve and often rude forms of Gothic sculpture. The growing fondness on the part of the austere church musicians for the setting of secular poems—madrigals, chansons, villanellas, and the like—in polyphonic style gradually brought in a simpler construction, more obvious melody, and a more characteristic and pertinent²³⁰ expression, which reacted upon the mass and motet in the promotion²³¹ of a more direct and flexible manner of treatment The stile famigliare, in which the song moves note against note, syllable²³² against syllable, suggesting modern chord progression, is no invention of Palestrina, with whose name it is commonly associated, but appears in many episodes in the works of his Netherland masters.

The contrapuntal chorus music of the Middle Age reached its maturity in the middle of the sixteenth century. For five hundred years this art had been growing, constantly putting forth new tendrils, which interlaced in luxuriant and ever-extending forms until they overspread all Western Christendom. It was now given to one man, Giovanni Pierluigi, called Palestrina from the place of his birth, to put the finishing touches upon this wonder of mediaeval genius, and to impart to it all of which its peculiar nature was capable in respect to technical completeness, tonal purity and majesty²³⁴, and elevated devotional expression. Palestrina was more than a flawless artist, more than an Andrea del Sarto; he was so representative of that inner spirit which has uttered itself in the most sincere works of Catholic art that the very heart of the institution to which he devoted²³⁵ his life may be said to find a voice in his music.
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Palestrina was born probably in 1526 (authority of Haberl) and died in 1594. He spent almost the whole of his art life as director of music at Rome in the service of the popes, being at one time also a singer in the papal chapel. He enriched every portion of the ritual with compositions, the catalogue of his works including ninety-five masses. Among his contemporaries at Rome were men such as Vittoria, Marenzio, the Anerios, and the Naninis, who worked in the same style as Palestrina. Together they compose the “Roman school” or the “Palestrina school,” and all that may be said of Palestrina’s style would apply in somewhat diminished degree to the writings of this whole group.

Palestrina has been enshrined in history as the “savior of church music” by virtue of a myth which has until recent years been universally regarded as a historic fact. The first form of the legend was to the effect that the reforming Council of Trent (1545-1563) had serious thoughts of abolishing the chorus music of the Church everywhere, and reducing all liturgic music to the plain unison chant; that judgment²³⁷ was suspended at the request of Pope Marcellus II. until Palestrina could produce a work that should be free from all objectionable features; that a mass of his composition—the Mass of Pope Marcellus—was performed before a commission of cardinals²³⁸, and that its beauty and refinement so impressed the judges that polyphonic music was saved and Palestrina’s style proclaimed [153] as the most perfect model of artistic music. This tale has undergone gradual reduction until it has been found that the Council of Trent contented²³⁹ itself with simply recommending to the bishops²⁴⁰ that they exclude from the churches “all musical compositions in which anything impure²⁴¹ or lascivious²⁴² is mingled,” yet not attempting to define what was meant by “impure” and “lascivious.” The commission of cardinals had jurisdiction²⁴³ only over some minor²⁴⁴ questions of discipline in the papal choir, and if Palestrina had the mass in question sung before them (which is doubtful) it had certainly been composed a number of years earlier.

Certain abuses that called for correction there doubtless were in church music in this period. The prevalent practice of borrowing themes from secular songs for the cantus firmus, with sometimes the first few words of the original song at the beginning—as in the mass of “The Armed Man,” the “Adieu, my Love” mass, etc.—was certainly objectionable from the standpoint of propriety²⁴⁵, although the intention was never profane²⁴⁶, and the impression received was not sacrilegious. Moreover, the song of the Church had at times become so artificial and sophisticated as to belie the true purpose of worship music. But among all the records of complaint we find only one at all frequent, and that was that the sacred words could not be understood in the elaborate contrapuntal interweaving of the voices. In the history of every church, in all periods, down even to the present time, there has always been a party that discountenances everything that looks like art for the sake of art, satisfied only with the simplest and rudest [154] form of music, setting the reception of the sacred text so far above the pleasure of the sense that all artistic embellishment seems to them profanation²⁴⁷. This class was represented at the Council of Trent, but it was never in the majority, and never strenuous²⁴⁸ for the total abolition²⁴⁹ of figured music. No reform was instituted but such as would have come about inevitably²⁵⁰ from the ever-increasing refinement of the art and the assertion of the nobler traditions of the Church in the Counter-Reformation. An elevation²⁵¹ of the ideal of church music there doubtless was at this time, and the genius of Palestrina was one of the most potent²⁵² factors in its promotion; but it was a natural growth, not a violent turning of direction.

The dissipation of the halo of special beatification which certain early worshipers of Palestrina have attempted to throw about the Mass of Pope Marcellus has in no wise dimmed its glory. It is not unworthy of the renown²⁵³ which it has so dubiously²⁵⁴ acquired. Although many times equalled by its author, he never surpassed it, and few will be inclined to dispute the distinction it has always claimed as the most perfect product of mediaeval musical art. Its style was not new; it does not mark the beginning of a new era, as certain writers but slightly versed²⁵⁵ in music history have supposed, but the culmination²⁵⁶ of an old one. It is essentially²⁵⁷ in the manner of the Netherland school, which the myth-makers would represent as condemned²⁵⁸ by the Council of Trent. Josquin des Prés, Orlandus Lassus, Goudimel, and many others had written music in the same style, just as chaste³⁴ and subdued²⁵⁹, with the [155] same ideal in mind, and almost as perfectly beautiful. It is not a simple work, letting the text stand forth in clear and obvious relief, as the legend would require. It is a masterpiece of construction, abounding²⁶⁰ in technical subtleties, differing from the purest work of the Netherlanders only in being even more delicately tinted²⁶¹ and sweet in melody than the best of them could attain¹⁹. It was in the quality of melodious grace that Palestrina soared above his Netherland masters. Melody, as we know, is the peculiar endowment of the Italians, and Palestrina, a typical son of Italy, crowned the Netherland science with an ethereal grace of movement which completed once for all the four hundred years’ striving of contrapuntal art, and made it stand forth among the artistic creations of the Middle Age perhaps the most divinely radiant of them all.

It may seem strange at first thought that a form which embodied²⁶² the deepest and sincerest religious feeling that has ever been projected in tones should have been perfected in an age when all other art had become to a large degree sensuous²⁶³ and worldly, and when the Catholic Church was under condemnation²⁶⁴, not only by its enemies, but also by many of its grieving friends, for its political ambition, avarice²⁶⁵, and corruption²⁶⁶. The papacy was at that moment reaping the inevitable harvest of spiritual indifference²⁶⁷ and moral decline, and had fallen upon days of struggle, confusion, and humiliation²⁶⁸. The Lutheran, Calvinistic, and Anglican revolt had rent from the Holy See some of the fairest of its dominions, and those that remained were in a condition of political and intellectual turmoil. That a reform “in head and members” [156] was indeed needed is established not by the accusations²⁶⁹ of hostile witnesses alone, but by the demands of many of the staunchest prelates of the time and the admissions of unimpeachable²⁷⁰ Catholic historians. But, as the sequel proved, it was the head far more than the members that required surgery. The lust¹⁸⁶ for sensual enjoyments²⁷¹, personal and family aggrandizement²⁷², and the pomp and luxury of worldly power, which had made the papacy of the fifteenth and first half of the sixteenth centuries a byword in Europe, the decline of faith in the early ideals of the Church, the excesses of physical and emotional indulgence which came in with the Renaissance as a natural reaction against mediaeval repression,—all this had produced a moral degeneracy in Rome and its dependencies which can hardly be exaggerated. But the assertion that the Catholic Church at large, or even in Rome, was wholly given over to corruption and formalism is sufficiently²⁷³ refuted by the sublime²⁷⁴ manifestation⁴⁴ of moral force which issued in the Catholic Reaction and the Counter-Reformation, the decrees of the Council of Trent, and the deeds of such moral heroes as Carlo Borromeo, Phillip Neri, Ignatius Loyola, Francis Xavier, Theresa of Jesus, Francis de Sales, Vincent de Paul, and the founders²⁷⁵ and leaders of the Capuchins, Theatines, Ursulines, and other beneficent religious orders, whose lives and achievements are the glory not only of Catholicism, but of the human race.

The great church composers of the sixteenth century were kindred to such spirits as these, and the reviving piety of the time found its most adequate symbol in the realm of art in the masses and hymns of Palestrina and [157] his compeers. These men were nurtured in the cloisters and choirs. The Church was their sole patron, and no higher privilege could be conceived by them than that of lending their powers to the service of that sublime institution into which their lives were absorbed. They were not agitated²⁷⁷ by the political and doctrinal ferment²⁷⁸ of the day. No sphere of activity could more completely remove a man from mundane²⁷⁹ influences than the employment of a church musician of that period. The abstract nature of music as an art, together with the engrossing²⁸⁰ routine of a liturgic office, kept these men, as it were, close to the inner sanctuary²⁸¹ of their religion, where the ecclesiastical traditions were strongest and purest. The music of the Church in the fifteenth and sixteenth centuries was unaffected by the influences which had done so much to make other forms of Italian art ministers to pride and sensual gratification. Music, through its very limitations, possessed no means of flattering the appetites of an Alexander VI., the luxurious²⁸³ tastes of a Leo X., or the inordinate²⁸⁴ pride of a Julius II. It was perforce allowed to develop unconstrained along the line of austere tradition. Art forms seem often to be under the control of a law which requires that when once set in motion they must run their course independently of changes in their environment. These two factors, therefore,—the compulsion of an advancing art demanding completion, and the uncontaminated springs of piety whence the liturgy²⁸⁵ and its musical setting drew their life,—will explain the splendid achievements of religious music in the hands of the Catholic composers of the sixteenth century amid conditions which would at first thought seem unfavorable to the nurture²¹² of an art so pure and austere.
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Under such influences, impelled²⁸⁶ by a zeal²⁰⁵ for the glory of God and the honor of his Church, the polyphony of the Netherland school put forth its consummate²⁸⁷ flower in the “Palestrina style.” In the works of this later school we may distinguish two distinct modes of treatment: (1) the intricate texture and solidity of Netherland work; (2) the “familiar style,” in which the voices move together in equal steps, without canonic imitations. In the larger compositions we have a blending and alternation of these two, and the scholastic Netherland polyphony appears clarified, and moulded into more plastic outlines for the attainment²⁸⁸ of a more refined vehicle of expression.

The marked dissimilarity between the music of the mediaeval school and that of the present era is to a large extent explained by the differences between the key and harmonic systems upon which they are severally based. In the modern system the relationship of notes to the antithetic tone-centres of tonic²⁸⁹ and dominant²⁹⁰, and the freedom of modulation²⁹¹ from one key to another by means of the introduction of notes that do not exist in the first, give opportunities for effect which are not obtainable in music based upon the Gregorian modes, for the reason that these modes do not differ in the notes employed (since they include only the notes represented by the white keys of the pianoforte plus the B flat), but only in the relation of the intervals to the note which forms the keynote or “final.” The concoction²⁹² of music based on the latter system is, strictly²⁹³ speaking, [159] melodic, not harmonic in the modern technical sense, and the resulting combinations of sounds are not conceived as chords built upon a certain tone taken as a fundamental, but rather as consequences of the conjunction of horizontally moving series of single notes. The harmony, therefore, seems both vague and monotonous²⁹⁴ to the ear trained in accordance with the laws of modern music, because, in addition to being almost purely diatonic, it lacks the stable pivotal points which give symmetry, contrast, and cohesion²⁹⁵ to modern tone structure. The old system admits chromatic²⁹⁶ changes but sparingly, chiefly in order to provide a leading tone in a cadence²⁹⁷, or to obviate²⁹⁸ an objectionable melodic interval¹³². Consequently there is little of what we should call variety or positive color quality. There is no pronounced leading melody to which the other parts are subordinate. The theme consists of a few chant-like notes, speedily taken up by one voice after another under control of the principle of “imitation.” For the same reasons the succession of phrases, periods, and sections which constitutes the architectonic principle of form in modern music does not appear. Even in the “familiar style,” in which the parts move together like blocks of chords of equal length, the implied principle is melodic in all the voices, not tune above and accompaniment beneath; and the progression is not guided by the necessity of revolving²⁹⁹ about mutually supporting tone-centres.

In this “familiar style” which we may trace backward to the age of the Netherlanders, we find a remote anticipation of the modern harmonic feeling. A vague sense of complementary colors of tonic and dominant, [160] caught perhaps from the popular music with which the most scientific composers of the fifteenth and sixteenth centuries always kept closely in touch, is sometimes evident for brief moments, but never carried out systematically³⁰⁰ to the end. This plain style is employed in hymns and short sentences, in connection with texts of an especially mournful or pleading expression, as, for instance, the Improperia and the Miserere, or, for contrast’s sake, in the more tranquil³⁰¹ passages of masses or motets. It is a style that is peculiarly tender and gracious, and may be found reflected in the sweetest of modern Latin and English hymn-tunes. In the absence of chromatic changes it is the most serene³⁰² form of music in existence, and is suggestive of the confidence and repose³⁰³ of spirit which is the most refined essence of the devotional mood.
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Example of the Simple Style (stile famigliare). Palestrina.
Example of the Simple Style (stile famigliare). Palestrina.

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The intricate style commonly prevails in larger works—masses, motets, and the longer hymns. Only after careful analysis can we appreciate the wonderful art that has entered into its fabrication. Upon examining works of this class we find the score consisting of four or more parts, but not usually exceeding eight. The most obvious feature of the design is that each part appears quite independent of the others; the melody does not lie in one voice while the others act as accompaniment, but each part is as much a melody as any other; each voice pursues its easy, unfettered way, now one acting as leader, now another, the voices often crossing each other, each melody apparently³⁰⁴ quite regardless of its mates in respect to the time of beginning, culminating, and ending, the voices apparently not subject to any common law of accent or rhythm, but each busy with its own individual progress. The onward³⁰⁵ movement [163] is like a series of waves; no sooner is the mind fixed³⁰⁶ upon one than it is lost in the ordered confusion of those that follow. The music seems also to have no definite rhythm. Each single voice part is indeed rhythmical⁹⁹, as a sentence of prose may be rhythmical, but since the melodic constituents³⁰⁸ come in upon different parts of the measure, one culminating at one moment, another at another, the parts often crossing each other, so that while the mind may be fixed upon one melody which seems to lead, another, which has been coming up from below, strikes in across the field,—the result of all this is that the attention is constantly being dislodged from one tonal centre and shifted to another, and the whole scheme of design seems without form, a fluctuating mass swayed hither and thither³⁰⁹ without coherent plan. The music does not lack dynamic change or alteration of speed, but these contrasts are often so subtly graded that it is not apparent where they begin or end. The whole effect is measured, subdued, solemn. We are never startled, there is nothing that sets the nerves throbbing³¹⁰. But as we hear this music again and again, analyzing³¹¹ its properties, shutting out all preconceptions, little by little there steal over us sensations of surprise, then of wonder, then of admiration. These delicately shaded harmonies develop unimagined beauties. Without sharp contrast of dissonance and consonance they are yet full of shifting lights and hues, like a meadow under breeze and sunshine, which to the careless eye seems only a mass of unvarying green, but which reveals to the keener sense infinite modulation of the scale of color. No melody lies conspicuous³¹² upon the surface, but the whole harmonic substance is full of undulating melody, each voice pursuing its confident, unfettered motion amid the ingenious complexity of which it is a constituent³⁰⁷ part.
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Fragment of Kyrie, from the Mass of Pope Marcellus. Novello’s Edition. Palestrina.
Fragment of Kyrie, from the Mass of Pope Marcellus. Novello’s Edition. Palestrina.

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In considering further the technical methods and the final aims of this marvellous style, we find in its culminating period that the crown of the mediaeval contrapuntal art upon its aesthetic³¹³ side lies in the attainment of beauty of tone effect in and of itself—the gratification of the sensuous ear, rich and subtly modulated³¹⁴ sound quality, not in the individual boys’ and men’s [166] voices, but in the distribution and combination of voices of different timbre³¹⁵. That mastery toward which orchestral composers have been striving during the past one hundred years—the union and contrast of stringed and wind instruments for the production of impressions upon the ear analogous³¹⁶ to those produced upon the eye by the color of a Rembrandt or a Titian—this was also sought, and, so far as the slender means went, achieved in a wonderful degree by the tone-masters of the Roman [167] and Venetian schools. The chorus, we must remind ourselves, was not dependent upon an accompaniment, and sensuous beauty of tone must, therefore, result not merely from the individual quality of the voices, but still more from the manner in which the notes were grouped. The distribution of the components³¹⁸ of a chord in order to produce the greatest sonority³¹⁹; the alternation of the lower voices with the higher; the elimination³²⁰ of voices as a section approached its close, until the harmony was reduced at the last syllable to two higher voices in pianissimo, as though the strain were vanishing into the upper air; the resolution of tangled polyphony into a sun-burst of open golden chords; the subtle intrusion of veiled dissonances into the fluent gleaming concord³²¹; the skilful¹⁷³ blending of the vocal registers for the production of exquisite contrasts of light and shade,—these and many other devices were employed for the attainment of delicate and lustrous³²² sound tints³²³, with results to which modern chorus writing affords no parallel. The culmination of this tendency could not be reached until the art of interweaving voices according to regular but flexible patterns had been fully¹⁶⁴ mastered, and composers had learned to lead their parts with the confidence with which the engraver³²⁴ traces his lines to shape them into designs of beauty.

The singular perfection of the work of Palestrina has served to direct the slight attention which the world now gives to the music of the sixteenth century almost exclusively to him; yet he was but one master among a goodly number whose productions are but slightly inferior to his,—primus inter⁵¹ pares. Orlandus Lassus in [168] Munich, Willaert, and the two Gabrielis, Andrea and Giovanni, and Croce in Venice, the Naninis, Vittoria, and the Anerios in Rome, Tallis in England, are names which do not pale when placed beside that of the “prince of music.” Venice, particularly, was a worthy rival of Rome in the sphere of church song. The catalogue of her musicians who flourished in the sixteenth and early part of the seventeenth centuries contains the names of men who were truly sovereigns in their art, not inferior to Palestrina in science, compensating³²⁵ for a comparative lack of the super-refined delicacy³²⁶ and tremulous pathos which distinguished³²⁷ the Romans by a larger emphasis upon contrast, color variety, and characteristic expression. It was as though the splendors³²⁸ of Venetian painting had been emulated³²⁹, although in reduced shades, by these masters of Venetian music. In admitting into their works contrivances for effect which anticipated a coming revolution in musical art, the Venetians, rather than the Romans, form the connecting link between mediaeval and modern religious music. In the Venetian school we find triumphing over the ineffable³³⁰ calmness and remote impersonality³³² of the Romans a more individual quality—a strain almost of passion and stress, and a far greater sonority and pomp. Chromatic changes, at first irregular and unsystematized, come gradually into use as a means of attaining³³³ greater intensity³³⁴; dissonances become more pronounced, foreshadowing the change of key system with all its consequences. The contrapuntal leading of parts, in whose cunning labyrinths the expression of feeling through melody strove to lose itself, tended [169] under the different ideal cherished by the Venetians to condense into more massive harmonies, with bolder outlines and melody rising into more obvious relief. As far back as the early decades of the sixteenth century Venice had begun to loosen the bands of mediaeval choral law, and by a freer use of dissonances to prepare the ear for a new order of perceptions. The unprecedented³³⁵ importance given to the organ by the Venetian church composers, and the appearance of the beginnings of an independent organ style, also contributed strongly to the furtherance of the new tendencies. In this broader outlook, more individual stamp, and more self-conscious aim toward brilliancy the music of Venice simply shared those impulses that manifested themselves in the gorgeous canvases of her great painters and in the regal splendors of her public spectacles.

The national love of pomp and ceremonial display was shown in the church festivals hardly less than in the secular pageants³³⁶, and all that could embellish⁵⁹ the externals of the church solemnities was eagerly adopted. All the most distinguished members of the line of Venetian church composers were connected with the church of St. Mark as choir directors and organists, and they imparted to their compositions a breadth of tone and warmth of color fully in keeping with the historic and artistic glory of this superb temple. The founder²⁷⁶ of the sixteenth-century Venetian school was Adrian Willaert, a Netherlander, who was chapel-master at St. Mark’s from 1527 to 1563. It was he who first employed the method which became a notable feature of the music of St. Mark’s, of dividing the choir and thus obtaining [170] novel effects of contrast and climax³³⁷ by means of antiphonal chorus singing. The hint was given to Willaert by the construction of the church, which contains two music galleries opposite each other, each with its organ. The freer use of dissonances, so characteristic of the adventurous³³⁸ spirit of the Venetian composers, first became a significant trait in the writings of Willaert.

The tendency to lay less stress upon interior intricacy and more upon harmonic strength, striking tone color, and cumulative³³⁹ grandeur³⁴⁰ is even more apparent in Willaert’s successors at St. Mark’s,—Cyprian de Rore, Claudio Merulo, and the two Gabrielis. Andrea and Giovanni Gabrieli carried the splendid tonal art of Venice to unprecedented heights, adding a third choir to the two of Willaert, and employing alternate choir singing, combinations of parts, and massing of voices in still more ingenious profusion³⁴¹. Winterfeld, the chief historian of this epoch, thus describes the performance of a twelve-part psalm⁶ by G. Gabrieli: “Three choruses, one of deep voices, one of higher, and the third consisting of the four usual parts, are separated from each other. Like a tender, fervent³⁴² prayer begins the song in the deeper chorus, ‘God be merciful unto us and bless us.’ Then the middle choir continues with similar expression, ‘And cause his face to shine upon us.’ The higher chorus strikes in with the words, ‘That thy way may be known upon earth.’ In full voice the strain now resounds³⁴³ from all three choirs, ‘Thy saving health among all nations.’ The words, ‘Thy saving health,’ are given with especial earnestness, and it is to be noticed that this utterance comes not from all the choirs together, [171] nor from a single one entire, but from selected voices from each choir in full-toned interwoven parts. We shall not attempt to describe how energetic and fiery³⁴⁴ the song, ‘Let all the people praise thee, O God,’ pours forth from the choirs in alternation; how tastefully the master proclaims the words, ‘Let the nations be glad and sing for joy,’ through change of measure and limitation to selected voices from all the choirs; how the words, ‘And God shall bless us,’ are uttered in solemn masses of choral song. Language could give but a feeble suggestion of the magnificence of this music.”[66]

Great as Giovanni Gabrieli was as master of all the secrets of mediaeval counterpoint and also of the special applications devised by the school of Venice, he holds an even more eminent³⁴⁵ station as the foremost of the founders of modern instrumental art, which properly took its starting point in St. Mark’s church in the sixteenth century. These men conceived that the organ might claim a larger function than merely aiding the voices here and there, and they began to experiment with independent performances where the ritual permitted such innovation. So we see the first upspringing of a lusty growth of instrumental forms, if they may properly be called forms,—canzonas (the modern fugue in embryo³⁴⁶), toccatas, ricercare (at first nothing more than vocal counterpoint transferred to the organ), fantasias, etc.,—rambling, amorphous³⁴⁷, incoherent pieces, but vastly significant as holding the promise and potency³⁴⁸ of a new art. Of these far-sighted experimenters Giovanni Gabrieli was easily chief. Consummate [172] master of the ancient forms, he laid the first pier²³³ of the arch which was to connect two epochs; honoring the old traditions by his achievements in chorus music, and leading his disciples³⁴⁹ to perceive possibilities of expression which were to respond to the needs of a new age.

Another composer of the foremost rank demands attention before we take leave of the mediaeval contrapuntal school. Orlandus Lassus (original Flemish Roland de Lattre, Italianized Orlando di Lasso) was a musician whose genius entitles him to a place in the same inner circle with Palestrina and Gabrieli. He lived from 1520 to 1594. His most important field of labor²¹ was Munich. In force, variety, and range of subject and treatment he surpasses Palestrina, but is inferior to the great Roman in pathos, nobility, and spiritual fervor³⁵⁰. His music is remarkable in view of its period for energy, sharp contrasts, and bold experiments in chromatic alteration. “Orlando,” says Ambros, “is a Janus who looks back toward the great past of music in which he arose, but also forward toward the approaching epoch.” An unsurpassed master of counterpoint, he yet depended much upon simpler and more condensed harmonic movements. The number of his works reaches 2337, of which 765 are secular. His motets hold a more important place than his masses, and in many of the former are to be found elements that are so direct and forceful in expression as almost to be called dramatic. His madrigals and choral songs are especially notable for their lavish³⁵¹ use of chromatics, and also for a lusty sometimes rough humor, which shows his keen sympathy with the popular currents that were running [173] strongly in the learned music of his time. Lassus has more significance in the development of music than Palestrina, for the latter’s absorption in liturgic duties kept him within much narrower boundaries. Palestrina’s music is permeated³⁵² with the spirit of the liturgic chant; that of Lassus with the racier quality of the folk-song. Lassus, although his religious devotion cannot be questioned, had the temper of a citizen of the world; Palestrina that of a man of the cloister¹⁶⁵. Palestrina’s music reaches a height of ecstasy which Lassus never approached; the latter is more instructive in respect to the tendencies of the time.

Turning again to the analysis of the sixteenth-century chorus and striving to penetrate³⁵³ still further the secret of its charm, we are obliged to admit that it is not its purely musical qualities or the learning and cleverness displayed in its fabrication that will account for its long supremacy or for the enthusiasm which it has often excited in an age so remote as our own. Its aesthetic effect can never be quite disentangled from the impressions drawn from its religious and historic associations. Only the devout³⁵⁴ Catholic call feel its full import, for to him it shares the sanctity of the liturgy,—it is not simply ear-pleasing harmony, but prayer; not merely a decoration of the holy ceremony, but an integral part of the sacrifice of praise and supplication³⁵⁵. And among Protestants those who eulogize it most warmly are those whose opinions on church music are liturgical³⁵⁶ and austere. Given in a concert hall, in implied competition with modern chorus music, its effect is feeble. It is as religious music—ritualistic religious music—identified [174] with what is most solemn and suggestive in the traditions and ordinances³⁵⁷ of an ancient faith, that this antiquated form of art makes its appeal to modern taste. No other phase of music is so dependent upon its setting.

There can be no question that the Catholic Church has always endeavored, albeit³⁵⁸ with a great deal of wavering and inconsistency, to maintain a certain ideal or standard in respect to those forms of art which she employs in her work of education. The frequent injunctions of popes, prelates, councils, and synods for century after century have always held the same tone upon this question. They have earnestly reminded their followers³⁵⁹ that the Church recognizes a positive norm or canon in ecclesiastical art, that there is a practical distinction between ecclesiastic⁴ art and secular art, and that it is a pious duty on the part of churchmen to preserve this distinction inviolate³⁶⁰. The Church, however, has never had the courage of this conviction. As J. A. Symonds says, she has always compromised; and so has every church compromised. The inroads of secular styles and modes of expression have always been irresistible³⁶¹ except here and there in very limited times and localities. The history of church art, particularly of church music, is the history of the conflict between the sacerdotal conception of art and the popular taste.

What, then, is the theory of ecclesiastical art which the heads of the Catholic Church have maintained in precept³⁶² and so often permitted to be ignored in practice? What have been the causes and the results of the secularization³⁶³ of religious art, particularly music? [175] These questions are of the greatest practical interest to the student of church music, and the answers to them will form the centre around which all that I have to say from this point about Catholic music will mainly turn.

The strict idea of religious art, as it has always stood more or less distinctly in the thought of the Catholic Church, is that it exists not for the decoration of the offices of worship (although the gratification of the senses is not considered unworthy as an incidental end), but rather for edification, instruction, and inspiration. As stated by an authoritative³⁶⁴ Catholic writer: “No branch of art exists for its own sake alone. Art is a servant, and it serves either God or the world, the eternal or the temporal, the spirit or the flesh. Ecclesiastical art must derive³⁶⁵ its rule and form solely³⁶⁶ from the Church.” “These rules and determinations [in respect to church art] are by no means arbitrary, no external accretion³⁶⁷; they have grown up organically from within outward, from the spirit which guides the Church, out of her views and out of the needs of her worship. And herein lies the justification³⁶⁸ of her symbolism and emblematic³⁷⁰ expression in ecclesiastical art so long as this holds itself within the limits of tradition. The church of stone must be a speaking manifestation of the living Church and her mysteries. The pictures on the walls and on the altars are not mere³¹⁷ adornment¹⁷⁰ for the pleasure of the eye, but for the heart a book full of instruction, a sermon full of truth. And hereby art is raised to be an instrument of edification to the believer, it becomes a profound [176] expositor for thousands, a transmitter and preserver of great ideas for all the centuries.”[67] The Catholic Church in her art would subject the literal to the ideal, the particular to the general, the definitive³⁷¹ to the symbolic³⁷². “The phrase ‘emancipation of the individual,’” says Jakob again, “is not heard in the Church. Art history teaches that the Church does not oppose the individual conception, but simply restrains that false freedom which would make art the servant of personal caprice or of fashion.”

The truth of this principle as a fundamental canon of ecclesiastical art is not essentially affected²⁸² by the fact that it is only in certain periods and under favorable conditions that it has been strictly enforced. Whenever art reaches a certain point in development, individual determination invariably succeeds in breaking away from tradition. The attainment of technic, attended by the inevitable pride in technic, liberates³⁷³ its possessors. The spirit of the Italian religious painters of the fourteenth and early fifteenth centuries, content to submit their skill to further the educational purposes of the Church, could no longer persist in connection with the growing delight in new technical problems and the vision of the new fields open to art when face to face with reality. The conventional treatment of the Memmis and Fra Angelicos was followed by the naturalistic representation of the Raphaels, the Da Vincis, and the Titians. The same result has followed where pure art has decayed, or where no real appreciation of art ever existed. The stage of church [177] art in its purest and most edifying³⁷⁴ form is, therefore, only temporary. It exists in the adolescent period of an art, before the achievement of technical skill arouses desire for its unhampered exercise, and when religious ideas are at the same time dominant and pervasive³⁷⁵. Neither is doubt to be cast upon the sincerity of the religious motive³⁷⁶ in this phase of art growth when we discover that its technical methods are identical with those of secular art at the same period. In fact, this general and conventional style which the Church finds suited to her ends is most truly characteristic when the artists have virtually no choice in their methods. The motive of the Gothic cathedral builders was no less religious because their modes of construction and decoration were also common to the civic³⁷⁷ and domestic architecture of the time. A distinctive³⁷⁸ ecclesiastical style has never developed in rivalry³⁷⁹ with contemporary tendencies in secular art, but only in unison with them. The historic church styles are also secular styles, carried to the highest practicable degree of refinement and splendor. These styles persist in the Church after they have disappeared in the mutations of secular art; they become sanctified by time and by the awe³⁸⁰ which the claim of supernatural commission inspires, and the world at last comes to think of them as inherently rather than conventionally religious.

All these principles must be applied to the sixteenth-century a capella music. In fact, there is no better illustration; its meaning and effect cannot be otherwise understood. Growing up under what seem perfectly natural conditions, patronized by the laity³⁸¹ as well as by the [178] clergy³⁸², this highly organized, severe, and impersonal³³¹ style was seen, even before the period of its maturity, to conform to the ideal of liturgic art cherished by the Church; and now that it has become completely isolated³⁸³ in the march of musical progress, this conformity³⁸⁴ appears even more obvious under contrast. No other form of chorus music has existed so objective and impersonal, so free from the stress and stir of passion, so plainly reflecting an exalted³⁸⁵ spiritualized state of feeling. This music is singularly adapted to reinforce the impression of the Catholic mysteries by reason of its technical form and its peculiar emotional appeal. The devotional mood that is especially nurtured by the Catholic religious exercises is absorbed and mystical; the devotee strives to withdraw into a retreat within the inner shrine²³⁶ of religious contemplation, where no echoes of the world reverberate³⁸⁶, and where the soul may be thrilled by the tremulous ecstasy of half-unveiled heavenly glory. It is the consciousness of the nearness and reality of the unseen world that lends such a delicate and reserved beauty to those creations of Catholic genius in which this ideal has been most directly symbolized³⁸⁷. Of this cloistral³⁸⁸ mood the church music of the Palestrina age is the most subtle and suggestive embodiment ever realized in art. It is as far as possible removed from profane suggestion; in its ineffable calmness, and an indescribable tone of chastened exultation³⁸⁹, pure from every trace of struggle, with which it vibrates, it is the most adequate emblem³⁶⁹ of that eternal repose toward which the believer yearns³⁹⁰.
[179]

It is not true, however, as often alleged³⁹¹, that this form of music altogether lacks characterization, and that the style of Kyrie, Gloria, Crucifixus, Resurrexit, and of the motets and hymns whatever their subject, is always the same. The old masters were artists as well as churchmen, and knew how to adapt their somewhat unresponsive material to the more obvious contrasts of the text; and in actual performance a much wider latitude³⁹² in respect to nuance³⁹³ and change of speed was permitted than could be indicated in the score. We know, also, that the choristers were allowed great license³⁹⁴ in the use of embellishments, more or less florid, upon the written notes, sometimes improvised³⁹⁵, sometimes carefully invented, taught and handed down as a prescribed code, the tradition of which, in all but a few instances, has been lost. But the very laws of the Gregorian modes and the strict contrapuntal system kept such excursions after expression within narrow bounds, and the traditional view of ecclesiastical art forbade anything like a drastic descriptive literalism.

This mediaeval polyphonic music, although the most complete example in art of the perfect adaptation of means to a particular end, could not long maintain its exclusive prestige. It must be supplanted³⁹⁶ by a new style as soon as the transformed secular music was strong enough to react upon the Church. It was found that a devotional experience that was not far removed from spiritual trance, which was all that the old music could express, was not the only mental attitude admissible in worship. The new-born art strove to give more apt and detailed³⁹⁷ expression to the words, and why should not this permission be granted to church music? The musical revolution of the seventeenth century involved [180] the development of an art of solo singing and its supremacy over the chorus, the substitution of the modern major and minor transposing scales for the Gregorian modal system, a homophonic method of harmony for the mediaeval polyphony, accompanied music for the a capella, secular and dramatic for religious music, the rise of instrumental music as an independent art, the transfer of patronage from the Church to the aristocracy and ultimately to the common people. All the modern forms, both vocal and instrumental, which have come to maturity in recent times suddenly appeared in embryo at the close of the sixteenth or early in the seventeenth century. The ancient style of ecclesiastical music did not indeed come to a standstill. The grand old forms continued to be cultivated by men who were proud to wear the mantle³⁹⁸ of Palestrina; and in the eighteenth and nineteenth centuries the traditions of the Roman and Venetian schools of church music have had sufficient vitality to inspire works not unworthy of comparison with their venerable models. The strains of these later disciples, however, are but scanty³⁹⁹ reverberations of the multitudinous voices of the past. The instrumental mass and motet, embellished⁴⁰⁰ with all the newly discovered appliances of melody, harmony, rhythm, and tone color, led the art of the Church with flying banners into wider regions of conquest, and the a capella contrapuntal chorus was left behind, a stately monument upon the receding⁴⁰¹ shores of the Middle Age.

    [Note. A very important agent in stimulating⁴⁰² a revival⁴⁰³ of interest in the mediaeval polyphonic school is the St. Cecilia Society, which was founded at Regensburg in 1868 by Dr. Franz Xaver Witt, a devoted priest [181] and learned musician, for the purpose of restoring a more perfect relation between music and the liturgy and erecting⁴⁰⁴ a barrier against the intrusion of dramatic and virtuoso⁴⁰⁵ tendencies. Flourishing branches of this society exist in many of the chief church centres of Europe and America. It is the patron of schools of music, it has issued periodicals, books, and musical compositions, and has shown much vigor⁵⁸ in making propaganda for its views.

    Not less intelligent and earnest is the Schola Cantorum of Paris, which is exerting a strong influence upon church music in the French capital and thence throughout the world by means of musical performances, editions of musical works, lectures, and publications of books and essays.]

1 noted   

adj.著名的，知名的

参考例句：

• The local hotel is noted for its good table.当地的那家酒店以餐食精美而著称。
• Jim is noted for arriving late for work.吉姆上班迟到出了名。

2 ass   

n.驴；傻瓜，蠢笨的人

参考例句：

• He is not an ass as they make him.他不象大家猜想的那样笨。
• An ass endures his burden but not more than his burden.驴能负重但不能超过它能力所负担的。

3 epoch   

n.(新)时代；历元

参考例句：

• The epoch of revolution creates great figures.革命时代造就伟大的人物。
• We're at the end of the historical epoch,and at the dawn of another.我们正处在一个历史时代的末期，另一个历史时代的开端。

4 ecclesiastic   

n.教士，基督教会；adj.神职者的，牧师的，教会的

参考例句：

• The sounds of the church singing ceased and the voice of the chief ecclesiastic was heard,respectfully congratulating the sick man on his reception of the mystery.唱诗中断了，可以听见一个神职人员恭敬地祝贺病人受圣礼。
• The man and the ecclesiastic fought within him,and the victory fell to the man.人和教士在他的心里交战，结果人取得了胜利。

5 psalms   

n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的)

参考例句：

• the Book of Psalms 《〈圣经〉诗篇》
• A verse from Psalms knifed into Pug's mind: "put not your trust in princes." 《诗篇》里有一句话闪过帕格的脑海：“不要相信王侯。” 来自辞典例句

6 psalm   

n.赞美诗，圣诗

参考例句：

• The clergyman began droning the psalm.牧师开始以单调而低沈的语调吟诵赞美诗。
• The minister droned out the psalm.牧师喃喃地念赞美诗。

7 Christian   

adj.基督教徒的；n.基督教徒

参考例句：

• They always addressed each other by their Christian name.他们总是以教名互相称呼。
• His mother is a sincere Christian.他母亲是个虔诚的基督教徒。

8 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

9 unison   

n.步调一致，行动一致

参考例句：

• The governments acted in unison to combat terrorism.这些国家的政府一致行动对付恐怖主义。
• My feelings are in unison with yours.我的感情与你的感情是一致的。

10 melodic   

adj.有旋律的，调子美妙的

参考例句：

• His voice had a rich melodic quality.他的音色浑厚而优美。
• He spoke with a soft husky voice in a melodic accent.他微微沙哑的声音带着一种悠扬的口音。

11 petrified   

adj.惊呆的；目瞪口呆的v.使吓呆，使惊呆；变僵硬；使石化(petrify的过去式和过去分词)

参考例句：

• I'm petrified of snakes. 我特别怕蛇。
• The poor child was petrified with fear. 这可怜的孩子被吓呆了。 来自《简明英汉词典》

12 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

13 unlimited   

adj.无限的，不受控制的，无条件的

参考例句：

• They flew over the unlimited reaches of the Arctic.他们飞过了茫茫无边的北极上空。
• There is no safety in unlimited technological hubris.在技术方面自以为是会很危险。

14 drawn   

v.拖，拉，拔出；adj.憔悴的，紧张的

参考例句：

• All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
• Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。

15 constraints   

强制( constraint的名词复数 )； 限制； 约束

参考例句：

• Data and constraints can easily be changed to test theories. 信息库中的数据和限制条件可以轻易地改变以检验假设。 来自英汉非文学 - 科学史
• What are the constraints that each of these imply for any design? 这每种产品的要求和约束对于设计意味着什么？ 来自About Face 3交互设计精髓

16 prosody   

n.诗体论，作诗法

参考例句：

• Both developed doctrine of prosody.他们作诗都有自己的理论。
• The prosody of Beowulf is based on alliteration,not end rhymes.《贝奥武甫》的诗体采用头韵而不用尾韵。

17 vocal   

adj.直言不讳的；嗓音的；n.[pl.]声乐节目

参考例句：

• The tongue is a vocal organ.舌头是一个发音器官。
• Public opinion at last became vocal.终于舆论哗然。

18 attained   

（通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• She has attained the degree of Master of Arts. 她已获得文学硕士学位。
• Lu Hsun attained a high position in the republic of letters. 鲁迅在文坛上获得崇高的地位。

19 attain   

vt.达到，获得，完成

参考例句：

• I used the scientific method to attain this end. 我用科学的方法来达到这一目的。
• His painstaking to attain his goal in life is praiseworthy. 他为实现人生目标所下的苦功是值得称赞的。

20 maturity   

n.成熟；完成；(支票、债券等)到期

参考例句：

• These plants ought to reach maturity after five years.这些植物五年后就该长成了。
• This is the period at which the body attains maturity.这是身体发育成熟的时期。

21 labor   

n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦

参考例句：

• We are never late in satisfying him for his labor.我们从不延误付给他劳动报酬。
• He was completely spent after two weeks of hard labor.艰苦劳动两周后，他已经疲惫不堪了。

22 virtue   

n.德行，美德；贞操；优点；功效，效力

参考例句：

• He was considered to be a paragon of virtue.他被认为是品德尽善尽美的典范。
• You need to decorate your mind with virtue.你应该用德行美化心灵。

23 splendor   

n.光彩；壮丽，华丽；显赫，辉煌

参考例句：

• Never in his life had he gazed on such splendor.他生平从没有见过如此辉煌壮丽的场面。
• All the splendor in the world is not worth a good friend.人世间所有的荣华富贵不如一个好朋友。

24 pathos   

n.哀婉，悲怆

参考例句：

• The pathos of the situation brought tears to our eyes.情况令人怜悯，看得我们不禁流泪。
• There is abundant pathos in her words.她的话里富有动人哀怜的力量。

25 tinged   

v.（使）发丁丁声( ting的过去式和过去分词 )

参考例句：

• memories tinged with sadness 略带悲伤的往事
• white petals tinged with blue 略带蓝色的白花瓣

26 hues   

色彩( hue的名词复数 )； 色调； 信仰； 观点

参考例句：

• When the sun rose a hundred prismatic hues were reflected from it. 太阳一出，更把它映得千变万化、异彩缤纷。
• Where maple trees grow, the leaves are often several brilliant hues of red. 在枫树生长的地方，枫叶常常呈现出数种光彩夺目的红色。

27 belie   

v.掩饰，证明为假

参考例句：

• The gentle lower slopes belie the true nature of the mountain.低缓的山坡掩盖了这座山的真实特点。
• His clothes belie his station.他的衣服掩饰了他的身分。

28 turmoil   

n.骚乱，混乱，动乱

参考例句：

• His mind was in such a turmoil that he couldn't get to sleep.内心的纷扰使他无法入睡。
• The robbery put the village in a turmoil.抢劫使全村陷入混乱。

29 skeptical   

adj.怀疑的，多疑的

参考例句：

• Others here are more skeptical about the chances for justice being done.这里的其他人更为怀疑正义能否得到伸张。
• Her look was skeptical and resigned.她的表情是将信将疑而又无可奈何。

30 rebellious   

adj.造反的，反抗的，难控制的

参考例句：

• They will be in danger if they are rebellious.如果他们造反，他们就要发生危险。
• Her reply was mild enough,but her thoughts were rebellious.她的回答虽然很温和，但她的心里十分反感。

31 longing   

n.（for）渴望

参考例句：

• Hearing the tune again sent waves of longing through her.再次听到那首曲子使她胸中充满了渴望。
• His heart burned with longing for revenge.他心中燃烧着急欲复仇的怒火。

32 mingled   

混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系]

参考例句：

• The sounds of laughter and singing mingled in the evening air. 笑声和歌声交织在夜空中。
• The man and the woman mingled as everyone started to relax. 当大家开始放松的时候，这一男一女就开始交往了。

33 allurements   

n.诱惑( allurement的名词复数 )；吸引；诱惑物；有诱惑力的事物

参考例句：

• The big cities are full of allurements on which to spend money. 大城市充满形形色色诱人花钱的事物。 来自《简明英汉词典》

34 chaste   

adj.贞洁的；有道德的；善良的；简朴的

参考例句：

• Comparatively speaking,I like chaste poetry better.相比较而言，我更喜欢朴实无华的诗。
• Tess was a chaste young girl.苔丝是一个善良的少女。

35 pious   

adj.虔诚的；道貌岸然的

参考例句：

• Alexander is a pious follower of the faith.亚历山大是个虔诚的信徒。
• Her mother was a pious Christian.她母亲是一个虔诚的基督教徒。

36 pervaded   

v.遍及，弥漫( pervade的过去式和过去分词 )

参考例句：

• A retrospective influence pervaded the whole performance. 怀旧的影响弥漫了整个演出。 来自《简明英汉词典》
• The air is pervaded by a smell [smoking]. 空气中弥散着一种气味[烟味]。 来自《现代英汉综合大词典》

37 ecstasy   

n.狂喜，心醉神怡，入迷

参考例句：

• He listened to the music with ecstasy.他听音乐听得入了神。
• Speechless with ecstasy,the little boys gazed at the toys.小孩注视着那些玩具，高兴得说不出话来。

38 celestial   

adj.天体的；天上的

参考例句：

• The rosy light yet beamed like a celestial dawn.玫瑰色的红光依然象天上的朝霞一样绚丽。
• Gravity governs the motions of celestial bodies.万有引力控制着天体的运动。

39 anticipation   

n.预期，预料，期望

参考例句：

• We waited at the station in anticipation of her arrival.我们在车站等着，期待她的到来。
• The animals grew restless as if in anticipation of an earthquake.各种动物都变得焦躁不安，像是感到了地震即将发生。

40 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

• I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
• I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。

41 sincerity   

n.真诚，诚意；真实

参考例句：

• His sincerity added much more authority to the story.他的真诚更增加了故事的说服力。
• He tried hard to satisfy me of his sincerity.他竭力让我了解他的诚意。

42 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

43 manifestations   

n.表示，显示（manifestation的复数形式）

参考例句：

• These were manifestations of the darker side of his character. 这些是他性格阴暗面的表现。 来自《简明英汉词典》
• To be wordly-wise and play safe is one of the manifestations of liberalism. 明哲保身是自由主义的表现之一。 来自《现代汉英综合大词典》

44 manifestation   

n.表现形式；表明；现象

参考例句：

• Her smile is a manifestation of joy.她的微笑是她快乐的表现。
• What we call mass is only another manifestation of energy.我们称之为质量的东西只是能量的另一种表现形态。

45 hymn   

n.赞美诗，圣歌，颂歌

参考例句：

• They sang a hymn of praise to God.他们唱着圣歌，赞美上帝。
• The choir has sung only two verses of the last hymn.合唱团只唱了最后一首赞美诗的两个段落。

46 scantily   

adv.缺乏地；不充足地；吝啬地；狭窄地

参考例句：

• The bedroom was scantily furnished. 卧室里几乎没有什么家具。 来自《简明英汉词典》
• His room was scantily furnished. 他的房间陈设简陋。 来自互联网

47 chapel   

n.小教堂，殡仪馆

参考例句：

• The nimble hero,skipped into a chapel that stood near.敏捷的英雄跳进近旁的一座小教堂里。
• She was on the peak that Sunday afternoon when she played in chapel.那个星期天的下午，她在小教堂的演出，可以说是登峰造极。

48 chapels   

n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式

参考例句：

• Both castles had their own chapels too, which was incredible to see. 两个城堡都有自己的礼拜堂，非常华美。 来自互联网
• It has an ambulatory and seven chapels. 它有一条走廊和七个小教堂。 来自互联网

49 reverent   

adj.恭敬的，虔诚的

参考例句：

• He gave reverent attention to the teacher.他恭敬地听老师讲课。
• She said the word artist with a gentle,understanding,reverent smile.她说作家一词时面带高雅，理解和虔诚的微笑。

50 sculptors   

雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座

参考例句：

• He is one of Britain's best-known sculptors. 他是英国最有名的雕塑家之一。
• Painters and sculptors are indexed separately. 画家和雕刻家被分开，分别做了索引。

51 inter   

v.埋葬

参考例句：

• They interred their dear comrade in the arms.他们埋葬了他们亲爱的战友。
• The man who died in that accident has been interred.在那次事故中死的那个人已经被埋葬了。

52 craftsmen   

n. 技工

参考例句：

• rugs handmade by local craftsmen 由当地工艺师手工制作的小地毯
• The craftsmen have ensured faithful reproduction of the original painting. 工匠保证要复制一幅最接近原作的画。

53 scripture   

n.经文，圣书，手稿；Scripture:(常用复数)《圣经》，《圣经》中的一段

参考例句：

• The scripture states that God did not want us to be alone.圣经指出上帝并不是想让我们独身一人生活。
• They invoked Hindu scripture to justify their position.他们援引印度教的经文为他们的立场辩护。

54 worthy   

adj.(of)值得的，配得上的；有价值的

参考例句：

• I did not esteem him to be worthy of trust.我认为他不值得信赖。
• There occurred nothing that was worthy to be mentioned.没有值得一提的事发生。

55 versatile   

adj.通用的，万用的；多才多艺的，多方面的

参考例句：

• A versatile person is often good at a number of different things.多才多艺的人通常擅长许多种不同的事情。
• He had been one of the game's most versatile athletes.他是这项运动中技术最全面的运动员之一。

56 applied   

adj.应用的；v.应用，适用

参考例句：

• She plans to take a course in applied linguistics.她打算学习应用语言学课程。
• This cream is best applied to the face at night.这种乳霜最好晚上擦脸用。

57 corps   

n.(通信等兵种的)部队；(同类作的)一组

参考例句：

• The medical corps were cited for bravery in combat.医疗队由于在战场上的英勇表现而受嘉奖。
• When the war broke out,he volunteered for the Marine Corps.战争爆发时，他自愿参加了海军陆战队。

58 vigor   

n.活力，精力，元气

参考例句：

• The choir sang the words out with great vigor.合唱团以极大的热情唱出了歌词。
• She didn't want to be reminded of her beauty or her former vigor.现在，她不愿人们提起她昔日的美丽和以前的精力充沛。

59 embellish   

v.装饰，布置；给…添加细节，润饰

参考例句：

• I asked him not to embellish the truth with ideas of his own.我要他不对事实添油加醋。
• Can you embellish your refusal just a little bit?你可以对你的婉拒之辞略加修饰吗？

60 pictorial   

adj.绘画的；图片的；n．画报

参考例句：

• The had insisted on a full pictorial coverage of the event.他们坚持要对那一事件做详尽的图片报道。
• China Pictorial usually sells out soon after it hits the stands.《人民画报》往往一到报摊就销售一空。

61 auspices   

n.资助，赞助

参考例句：

• The association is under the auspices of Word Bank.这个组织是在世界银行的赞助下办的。
• The examination was held under the auspices of the government.这次考试是由政府主办的。

62 renaissance   

n.复活，复兴，文艺复兴

参考例句：

• The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
• The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。

63 culminated   

v.达到极点( culminate的过去式和过去分词 )

参考例句：

• a gun battle which culminated in the death of two police officers 一场造成两名警察死亡的枪战
• The gala culminated in a firework display. 晚会以大放烟火告终。 来自《简明英汉词典》

64 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

65 admiration   

n.钦佩，赞美，羡慕

参考例句：

• He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
• We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。

66 initiated   

n. 创始人 adj. 新加入的 vt. 开始，创始，启蒙，介绍加入

参考例句：

• He has not yet been thoroughly initiated into the mysteries of computers. 他对计算机的奥秘尚未入门。
• The artist initiated the girl into the art world in France. 这个艺术家介绍这个女孩加入巴黎艺术界。

67 possessed   

adj.疯狂的；拥有的，占有的

参考例句：

• He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
• He behaved like someone possessed.他行为举止像是魔怔了。

68 susceptible   

adj.过敏的，敏感的；易动感情的，易受感动的

参考例句：

• Children are more susceptible than adults.孩子比成人易受感动。
• We are all susceptible to advertising.我们都易受广告的影响。

69 secular   

n.牧师，凡人；adj.世俗的，现世的，不朽的

参考例句：

• We live in an increasingly secular society.我们生活在一个日益非宗教的社会。
• Britain is a plural society in which the secular predominates.英国是个世俗主导的多元社会。

70 politic   

adj.有智虑的；精明的；v.从政

参考例句：

• He was too politic to quarrel with so important a personage.他很聪明，不会与这么重要的人争吵。
• The politic man tried not to offend people.那个精明的人尽量不得罪人。

71 promising   

adj.有希望的，有前途的

参考例句：

• The results of the experiments are very promising.实验的结果充满了希望。
• We're trying to bring along one or two promising young swimmers.我们正设法培养出一两名有前途的年轻游泳选手。

72 antiquated   

adj.陈旧的，过时的

参考例句：

• Many factories are so antiquated they are not worth saving.很多工厂过于陈旧落后，已不值得挽救。
• A train of antiquated coaches was waiting for us at the siding.一列陈旧的火车在侧线上等着我们。

73 austere   

adj.艰苦的；朴素的，朴实无华的；严峻的

参考例句：

• His way of life is rather austere.他的生活方式相当简朴。
• The room was furnished in austere style.这间屋子的陈设都很简单朴素。

74 fascination   

n.令人着迷的事物，魅力，迷恋

参考例句：

• He had a deep fascination with all forms of transport.他对所有的运输工具都很着迷。
• His letters have been a source of fascination to a wide audience.广大观众一直迷恋于他的来信。

75 Forsaken   

adj. 被遗忘的, 被抛弃的 动词forsake的过去分词

参考例句：

• He was forsaken by his friends. 他被朋友们背弃了。
• He has forsaken his wife and children. 他遗弃了他的妻子和孩子。

76 abstruse   

adj.深奥的，难解的

参考例句：

• Einstein's theory of relativity is very abstruse.爱因斯坦的相对论非常难懂。
• The professor's lectures were so abstruse that students tended to avoid them.该教授的课程太深奥了，学生们纷纷躲避他的课。

77 obsolete   

adj.已废弃的，过时的

参考例句：

• These goods are obsolete and will not fetch much on the market.这些货品过时了，在市场上卖不了高价。
• They tried to hammer obsolete ideas into the young people's heads.他们竭力把陈旧思想灌输给青年。

78 notation   

n.记号法，表示法，注释；[计算机]记法

参考例句：

• Music has a special system of notation.音乐有一套特殊的标记法。
• We shall find it convenient to adopt the following notation.采用下面的记号是方便的。

79 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。

80 appreciation   

n.评价；欣赏；感谢；领会，理解；价格上涨

参考例句：

• I would like to express my appreciation and thanks to you all.我想对你们所有人表达我的感激和谢意。
• I'll be sending them a donation in appreciation of their help.我将送给他们一笔捐款以感谢他们的帮助。

81 vitality   

n.活力，生命力，效力

参考例句：

• He came back from his holiday bursting with vitality and good health.他度假归来之后，身强体壮，充满活力。
• He is an ambitious young man full of enthusiasm and vitality.他是个充满热情与活力的有远大抱负的青年。

82 exponent   

n.倡导者，拥护者；代表人物；指数，幂

参考例句：

• She is an exponent of vegetarianism.她是一个素食主义的倡导者。
• He had been the principal exponent of the Gallipoli campaign.他曾为加里波利战役的主要代表人物。

83 piety   

n.虔诚，虔敬

参考例句：

• They were drawn to the church not by piety but by curiosity.他们去教堂不是出于虔诚而是出于好奇。
• Experience makes us see an enormous difference between piety and goodness.经验使我们看到虔诚与善意之间有着巨大的区别。

84 tempting   

a.诱人的, 吸引人的

参考例句：

• It is tempting to idealize the past. 人都爱把过去的日子说得那么美好。
• It was a tempting offer. 这是个诱人的提议。

85 forth   

adv.向前；向外，往外

参考例句：

• The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
• He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。

86 seclusion   

n.隐遁，隔离

参考例句：

• She liked to sunbathe in the seclusion of her own garden.她喜欢在自己僻静的花园里晒日光浴。
• I live very much in seclusion these days.这些天我过着几乎与世隔绝的生活。

87 choirs   

n.教堂的唱诗班( choir的名词复数 )；唱诗队；公开表演的合唱团；（教堂）唱经楼

参考例句：

• They ran the three churches to which they belonged, the clergy, the choirs and the parishioners. 她们管理着自己所属的那三家教堂、牧师、唱诗班和教区居民。 来自飘（部分）
• Since 1935, several village choirs skilled in this music have been created. 1935以来，数支熟练掌握这种音乐的乡村唱诗班相继建立起来。 来自互联网

88 choir   

n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱

参考例句：

• The choir sang the words out with great vigor.合唱团以极大的热情唱出了歌词。
• The church choir is singing tonight.今晚教堂歌唱队要唱诗。

89 influential   

adj.有影响的，有权势的

参考例句：

• He always tries to get in with the most influential people.他总是试图巴结最有影响的人物。
• He is a very influential man in the government.他在政府中是个很有影响的人物。

90 laboring   

n.劳动，操劳v.努力争取(for)( labor的现在分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转

参考例句：

• The young man who said laboring was beneath his dignity finally put his pride in his pocket and got a job as a kitchen porter. 那个说过干活儿有失其身份的年轻人最终只能忍辱，做了厨房搬运工的工作。 来自《简明英汉词典》
• But this knowledge did not keep them from laboring to save him. 然而，这并不妨碍她们尽力挽救他。 来自飘（部分）

91 insinuating   

adj.曲意巴结的，暗示的v.暗示( insinuate的现在分词 )；巧妙或迂回地潜入；（使）缓慢进入；慢慢伸入

参考例句：

• Are you insinuating that I' m telling a lie ? 你这是意味着我是在说谎吗？ 来自辞典例句
• He is extremely insinuating, but it's a vulgar nature. 他好奉承拍马，那是种庸俗的品格。 来自辞典例句

92 anthem   

n.圣歌，赞美诗，颂歌

参考例句：

• All those present were standing solemnly when the national anthem was played.奏国歌时全场肃立。
• As he stood on the winner's rostrum,he sang the words of the national anthem.他站在冠军领奖台上，唱起了国歌。

93 refinement   

n.文雅；高尚；精美；精制；精炼

参考例句：

• Sally is a woman of great refinement and beauty. 莎莉是个温文尔雅又很漂亮的女士。
• Good manners and correct speech are marks of refinement.彬彬有礼和谈吐得体是文雅的标志。

94 constructive   

adj.建设的，建设性的

参考例句：

• We welcome constructive criticism.我们乐意接受有建设性的批评。
• He is beginning to deal with his anger in a constructive way.他开始用建设性的方法处理自己的怒气。

95 instinctive   

adj.(出于)本能的；直觉的；(出于)天性的

参考例句：

• He tried to conceal his instinctive revulsion at the idea.他试图饰盖自己对这一想法本能的厌恶。
• Animals have an instinctive fear of fire.动物本能地怕火。

96 remains   

n.剩余物，残留物；遗体，遗迹

参考例句：

• He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
• The remains of the meal were fed to the dog.残羹剩饭喂狗了。

97 prophesying   

v.预告，预言( prophesy的现在分词 )

参考例句：

• Every man praying or prophesying, having his head covered, dishonoureth his head. 凡男人祷告或是讲道（道或作说预言下同）若蒙着头，就是羞辱自己的头。 来自互联网
• Prophesying was the only human art that couldn't be improved by practice. 预言是唯一的一项无法经由练习而改善的人类技术。 来自互联网

98 bondage   

n.奴役，束缚

参考例句：

• Masters sometimes allowed their slaves to buy their way out of bondage.奴隶主们有时允许奴隶为自己赎身。
• They aim to deliver the people who are in bondage to superstitious belief.他们的目的在于解脱那些受迷信束缚的人。

99 rhythmical   

adj.有节奏的，有韵律的

参考例句：

• His breathing became more rhythmical.他的呼吸变得更有节奏了。
• The music is strongly rhythmical.那音乐有强烈的节奏。

100 rhythmically   

adv.有节奏地

参考例句：

• A pigeon strutted along the roof, cooing rhythmically. 一只鸽子沿着屋顶大摇大摆地走，有节奏地咕咕叫。 来自《简明英汉词典》
• Exposures of rhythmically banded protore are common in the workings. 在工作面中常见有韵律条带“原矿石”。 来自辞典例句

101 incapable   

adj.无能力的，不能做某事的

参考例句：

• He would be incapable of committing such a cruel deed.他不会做出这么残忍的事。
• Computers are incapable of creative thought.计算机不会创造性地思维。

102 elicited   

引出，探出( elicit的过去式和过去分词 )

参考例句：

• Threats to reinstate the tax elicited jeer from the Opposition. 恢复此项征税的威胁引起了反对党的嘲笑。
• The comedian's joke elicited applause and laughter from the audience. 那位滑稽演员的笑话博得观众的掌声和笑声。

103 dynamics   

n.力学，动力学，动力，原动力；动态

参考例句：

• In order to succeed,you must master complicated knowledge of dynamics.要取得胜利，你必须掌握很复杂的动力学知识。
• Dynamics is a discipline that cannot be mastered without extensive practice.动力学是一门不做大量习题就不能掌握的学科。

104 antiquity   

n.古老；高龄；古物，古迹

参考例句：

• The museum contains the remains of Chinese antiquity.博物馆藏有中国古代的遗物。
• There are many legends about the heroes of antiquity.有许多关于古代英雄的传说。

105 projection   

n.发射，计划，突出部分

参考例句：

• Projection takes place with a minimum of awareness or conscious control.投射在最少的知觉或意识控制下发生。
• The projection of increases in number of house-holds is correct.对户数增加的推算是正确的。

106 authentic   

a.真的，真正的；可靠的，可信的，有根据的

参考例句：

• This is an authentic news report. We can depend on it. 这是篇可靠的新闻报道, 我们相信它。
• Autumn is also the authentic season of renewal. 秋天才是真正的除旧布新的季节。

107 formerly   

adv.从前，以前

参考例句：

• We now enjoy these comforts of which formerly we had only heard.我们现在享受到了过去只是听说过的那些舒适条件。
• This boat was formerly used on the rivers of China.这船从前航行在中国内河里。

108 divergence   

n.分歧，岔开

参考例句：

• There is no sure cure for this transatlantic divergence.没有什么灵丹妙药可以消除大西洋两岸的分歧。
• In short,it was an age full of conflicts and divergence of values.总之，这一时期是矛盾与价值观分歧的时期。

109 oblique   

adj.斜的，倾斜的，无诚意的，不坦率的

参考例句：

• He made oblique references to her lack of experience.他拐弯抹角地说她缺乏经验。
• She gave an oblique look to one side.她向旁边斜看了一眼。

110 alludes   

提及，暗指( allude的第三人称单数 )

参考例句：

• In the vegetable kingdom Mr. Mivart only alludes to two cases. 在植物界中，密伐脱先生仅提出两点。
• Black-box testing alludes to test that are conducted at the software interface. 黑箱测试是指测试软件接口进行。

111 speculation   

n.思索，沉思；猜测；投机

参考例句：

• Her mind is occupied with speculation.她的头脑忙于思考。
• There is widespread speculation that he is going to resign.人们普遍推测他要辞职。

112 expended   

v.花费( expend的过去式和过去分词 )；使用（钱等）做某事；用光；耗尽

参考例句：

• She expended all her efforts on the care of home and children. 她把所有精力都花在料理家务和照顾孩子上。
• The enemy had expended all their ammunition. 敌人已耗尽所有的弹药。 来自《简明英汉词典》

113 conjecture   

n./v.推测，猜测

参考例句：

• She felt it no use to conjecture his motives.她觉得猜想他的动机是没有用的。
• This conjecture is not supported by any real evidence.这种推测未被任何确切的证据所证实。

114 tuned   

adj.调谐的，已调谐的v.调音( tune的过去式和过去分词 )；调整；（给收音机、电视等）调谐；使协调

参考例句：

• The resort is tuned in to the tastes of young and old alike. 这个度假胜地适合各种口味，老少皆宜。
• The instruments should be tuned up before each performance. 每次演出开始前都应将乐器调好音。 来自《简明英汉词典》

115 tune   

n.调子；和谐，协调；v.调音，调节，调整

参考例句：

• He'd written a tune,and played it to us on the piano.他写了一段曲子，并在钢琴上弹给我们听。
• The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。

116 constrained   

adj.束缚的,节制的

参考例句：

• The evidence was so compelling that he felt constrained to accept it. 证据是那样的令人折服，他觉得不得不接受。
• I feel constrained to write and ask for your forgiveness. 我不得不写信请你原谅。

117 treadmill   

n.踏车；单调的工作

参考例句：

• The treadmill has a heart rate monitor.跑步机上有个脉搏监视器。
• Drugs remove man from the treadmill of routine.药物可以使人摆脱日常单调的工作带来的疲劳。

118 concession   

n.让步，妥协；特许(权)

参考例句：

• We can not make heavy concession to the matter.我们在这个问题上不能过于让步。
• That is a great concession.这是很大的让步。

119 preponderating   

v.超过，胜过( preponderate的现在分词 )

参考例句：

120 technically   

adv.专门地，技术上地

参考例句：

• Technically it is the most advanced equipment ever.从技术上说，这是最先进的设备。
• The tomato is technically a fruit,although it is eaten as a vegetable.严格地说，西红柿是一种水果，尽管它是当作蔬菜吃的。

121 postulate   

n.假定，基本条件；vt.要求，假定

参考例句：

• Let's postulate that she is a cook.我们假定她是一位厨师。
• Freud postulated that we all have a death instinct as well as a life instinct.弗洛伊德曾假定我们所有人都有生存本能和死亡本能。

122 component   

n.组成部分，成分，元件；adj.组成的，合成的

参考例句：

• Each component is carefully checked before assembly.每个零件在装配前都经过仔细检查。
• Blade and handle are the component parts of a knife.刀身和刀柄是一把刀的组成部分。

123 euphony   

n.悦耳的语音

参考例句：

• Such euphony is hard to resist.如此的悦耳之声令人难以抵抗。
• He was enchanted with the euphony.他陶醉在那悦耳之音中。

124 monkish   

adj.僧侣的，修道士的，禁欲的

参考例句：

• There was an unconquerable repulsion for her in that monkish aspect. 她对这副猴子样的神气有一种无法克制的厌恶。 来自辞典例句

125 alteration   

n.变更，改变；蚀变

参考例句：

• The shirt needs alteration.这件衬衣需要改一改。
• He easily perceived there was an alteration in my countenance.他立刻看出我的脸色和往常有些不同。

126 fabric   

n.织物，织品，布；构造，结构，组织

参考例句：

• The fabric will spot easily.这种织品很容易玷污。
• I don't like the pattern on the fabric.我不喜欢那块布料上的图案。

127 inevitable   

adj.不可避免的，必然发生的

参考例句：

• Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。
• The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

128 mellifluous   

adj.（音乐等）柔美流畅的

参考例句：

• Soon the room is filled with Bates' mellifluous tones.很快，房间里便充满了贝茨动听的声音。
• Her voice was distinctive,soft and mellifluous.她的嗓音甜美，清脆而柔和。

129 primitive   

adj.原始的；简单的；n.原(始)人，原始事物

参考例句：

• It is a primitive instinct to flee a place of danger.逃离危险的地方是一种原始本能。
• His book describes the march of the civilization of a primitive society.他的著作描述了一个原始社会的开化过程。

130 dissonant   

adj.不和谐的；不悦耳的

参考例句：

• His voice is drowned by the dissonant scream of a siren outside.她的声音被外面杂乱刺耳的警报声吞没了。
• They chose to include all of these dissonant voices together.他们把那些不和谐的声音也放在了里面

131 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

参考例句：

• The forecast said there would be sunny intervals and showers. 预报间晴，有阵雨。
• Meetings take place at fortnightly intervals. 每两周开一次会。

132 interval   

n.间隔，间距；幕间休息，中场休息

参考例句：

• The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
• There was a long interval before he anwsered the telephone.隔了好久他才回了电话。

133 consecutive   

adj.连续的，联贯的，始终一贯的

参考例句：

• It has rained for four consecutive days.已连续下了四天雨。
• The policy of our Party is consecutive.我党的政策始终如一。

134 scholastic   

adj.学校的，学院的，学术上的

参考例句：

• There was a careful avoidance of the sensitive topic in the scholastic circles.学术界小心地避开那个敏感的话题。
• This would do harm to students' scholastic performance in the long run.这将对学生未来的学习成绩有害。

135 dexterity   

n.(手的)灵巧，灵活

参考例句：

• You need manual dexterity to be good at video games.玩好电子游戏手要灵巧。
• I'm your inferior in manual dexterity.论手巧，我不如你。

136 plodding   

a.proceeding in a slow or dull way

参考例句：

• They're still plodding along with their investigation. 他们仍然在不厌其烦地进行调查。
• He is plodding on with negotiations. 他正缓慢艰难地进行着谈判。

137 apprenticeship   

n.学徒身份；学徒期

参考例句：

• She was in the second year of her apprenticeship as a carpenter. 她当木工学徒已是第二年了。
• He served his apprenticeship with Bob. 他跟鲍勃当学徒。

138 apprentice   

n.学徒，徒弟

参考例句：

• My son is an apprentice in a furniture maker's workshop.我的儿子在一家家具厂做学徒。
• The apprentice is not yet out of his time.这徒工还没有出徒。

139 expressive   

adj.表现的，表达…的，富于表情的

参考例句：

• Black English can be more expressive than standard English.黑人所使用的英语可能比正式英语更有表现力。
• He had a mobile,expressive,animated face.他有一张多变的，富于表情的，生动活泼的脸。

140 arduous   

adj.艰苦的，费力的，陡峭的

参考例句：

• We must have patience in doing arduous work.我们做艰苦的工作要有耐性。
• The task was more arduous than he had calculated.这项任务比他所估计的要艰巨得多。

141 melodious   

adj.旋律美妙的，调子优美的，音乐性的

参考例句：

• She spoke in a quietly melodious voice.她说话轻声细语，嗓音甜美。
• Everybody was attracted by her melodious voice.大家都被她悦耳的声音吸引住了。

142 varied   

adj.多样的，多变化的

参考例句：

• The forms of art are many and varied.艺术的形式是多种多样的。
• The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。

143 euphonious   

adj.好听的，悦耳的，和谐的

参考例句：

• He was enchanted with the euphonious music.他陶醉在那悦耳的音乐中。
• The euphonious sound of Carrie's cello playing always puts me at ease.嘉莉悦耳的大提琴演奏总让我心旷神怡。

144 mazes   

迷宫( maze的名词复数 )； 纷繁复杂的规则； 复杂难懂的细节； 迷宫图

参考例句：

• The mazes of the dance were ecstatic. 跳舞那种错综曲折，叫人快乐得如登九天。
• For two hours did this singlehearted and simpleminded girl toil through the mazes of the forest. 这位心地单纯的傻姑娘在林间曲径中艰难地走了两个来小时。

145 texture   

n.(织物)质地；(材料)构造；结构；肌理

参考例句：

• We could feel the smooth texture of silk.我们能感觉出丝绸的光滑质地。
• Her skin has a fine texture.她的皮肤细腻。

146 tenor   

n.男高音（歌手），次中音（乐器），要旨，大意

参考例句：

• The tenor of his speech was that war would come.他讲话的大意是战争将要发生。
• The four parts in singing are soprano,alto,tenor and bass.唱歌的四个声部是女高音、女低音、男高音和男低音。

147 utterance   

n.用言语表达，话语，言语

参考例句：

• This utterance of his was greeted with bursts of uproarious laughter.他的讲话引起阵阵哄然大笑。
• My voice cleaves to my throat,and sob chokes my utterance.我的噪子哽咽，泣不成声。

148 simultaneously   

adv.同时发生地，同时进行地

参考例句：

• The radar beam can track a number of targets almost simultaneously.雷达波几乎可以同时追着多个目标。
• The Windows allow a computer user to execute multiple programs simultaneously.Windows允许计算机用户同时运行多个程序。

149 unity   

n.团结，联合，统一；和睦，协调

参考例句：

• When we speak of unity,we do not mean unprincipled peace.所谓团结，并非一团和气。
• We must strengthen our unity in the face of powerful enemies.大敌当前，我们必须加强团结。

150 acting   

n.演戏，行为，假装；adj.代理的，临时的，演出用的

参考例句：

• Ignore her,she's just acting.别理她，她只是假装的。
• During the seventies,her acting career was in eclipse.在七十年代，她的表演生涯黯然失色。

151 tributary   

n.支流；纳贡国；adj.附庸的；辅助的；支流的

参考例句：

• There was a tributary road near the end of the village.村的尽头有条岔道。
• As the largest tributary of Jinsha river,Yalong river is abundant in hydropower resources.雅砻江是金沙江的最大支流，水力资源十分丰富。

152 imperative   

n.命令，需要；规则；祈使语气；adj.强制的；紧急的

参考例句：

• He always speaks in an imperative tone of voice.他老是用命令的口吻讲话。
• The events of the past few days make it imperative for her to act.过去这几天发生的事迫使她不得不立即行动。

153 complexity   

n.复杂(性)，复杂的事物

参考例句：

• Only now did he understand the full complexity of the problem.直到现在他才明白这一问题的全部复杂性。
• The complexity of the road map puzzled me.错综复杂的公路图把我搞糊涂了。

154 reigned   

vi.当政，统治（reign的过去式形式）

参考例句：

• Silence reigned in the hall. 全场肃静。 来自《现代汉英综合大词典》
• Night was deep and dead silence reigned everywhere. 夜深人静，一片死寂。 来自《现代汉英综合大词典》

155 subtleties   

细微( subtlety的名词复数 )； 精细； 巧妙； 细微的差别等

参考例句：

• I think the translator missed some of the subtleties of the original. 我认为译者漏掉了原著中一些微妙之处。
• They are uneducated in the financial subtleties of credit transfer. 他们缺乏有关信用转让在金融方面微妙作用的知识。

156 recondite   

adj.深奥的，难解的

参考例句：

• Her poems are modishly experimental in style and recondite in subject-matter.她的诗在风格上是时髦的实验派，主题艰深难懂。
• To a craftsman,the ancient article with recondite and scholastic words was too abstruse to understand.可是对一个车轮师父而言，这些之乎者也的文言文是太深而难懂的。

157 entangled   

adj.卷入的；陷入的；被缠住的；缠在一起的v.使某人（某物/自己）缠绕，纠缠于（某物中），使某人（自己）陷入（困难或复杂的环境中）( entangle的过去式和过去分词 )

参考例句：

• The bird had become entangled in the wire netting. 那只小鸟被铁丝网缠住了。
• Some military observers fear the US could get entangled in another war. 一些军事观察家担心美国会卷入另一场战争。 来自《简明英汉词典》

158 tangled   

adj. 纠缠的，紊乱的 动词tangle的过去式和过去分词

参考例句：

• Your hair's so tangled that I can't comb it. 你的头发太乱了，我梳不动。
• A movement caught his eye in the tangled undergrowth. 乱灌木丛里的晃动引起了他的注意。

159 neophyte   

n.新信徒；开始者

参考例句：

• The neophyte began to stammer out a reply,but fell silent.新门徒嗫嚅了两句，然后沉默了。
• He is a neophyte at politics.他是个初涉政界的人。

160 uncouth   

adj.无教养的，粗鲁的

参考例句：

• She may embarrass you with her uncouth behavior.她的粗野行为可能会让你尴尬。
• His nephew is an uncouth young man.他的侄子是一个粗野的年轻人。

161 graceful   

adj.优美的，优雅的；得体的

参考例句：

• His movements on the parallel bars were very graceful.他的双杠动作可帅了!
• The ballet dancer is so graceful.芭蕾舞演员的姿态是如此的优美。

162 pedantic   

adj.卖弄学问的；迂腐的

参考例句：

• He is learned,but neither stuffy nor pedantic.他很博学，但既不妄自尊大也不卖弄学问。
• Reading in a pedantic way may turn you into a bookworm or a bookcase,and has long been opposed.读死书会变成书呆子，甚至于成为书橱，早有人反对过了。

163 structural   

adj.构造的，组织的，建筑（用）的

参考例句：

• The storm caused no structural damage.风暴没有造成建筑结构方面的破坏。
• The North American continent is made up of three great structural entities.北美大陆是由三个构造单元组成的。

164 fully   

adv.完全地，全部地，彻底地；充分地

参考例句：

• The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。
• They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

165 cloister   

n.修道院；v.隐退，使与世隔绝

参考例句：

• They went out into the stil,shadowy cloister garden.他们出了房间，走到那个寂静阴沉的修道院的园子里去。
• The ancient cloister was a structure of red brick picked out with white stone.古老的修道院是一座白石衬托着的红砖建筑物。

166 cloistered   

adj.隐居的，躲开尘世纷争的v.隐退，使与世隔绝( cloister的过去式和过去分词 )

参考例句：

• the cloistered world of the university 与世隔绝的大学
• She cloistered herself in the office. 她呆在办公室里好像与世隔绝一样。 来自《简明英汉词典》

167 justify   

vt.证明…正当(或有理)，为…辩护

参考例句：

• He tried to justify his absence with lame excuses.他想用站不住脚的借口为自己的缺席辩解。
• Can you justify your rude behavior to me?你能向我证明你的粗野行为是有道理的吗？

168 futility   

n.无用

参考例句：

• She could see the utter futility of trying to protest. 她明白抗议是完全无用的。
• The sheer futility of it all exasperates her. 它毫无用处，这让她很生气。

169 amiably   

adv.和蔼可亲地，亲切地

参考例句：

• She grinned amiably at us. 她咧着嘴向我们亲切地微笑。
• Atheists and theists live together peacefully and amiably in this country. 无神论者和有神论者在该国和睦相处。 来自《简明英汉词典》

170 adornment   

n.装饰；装饰品

参考例句：

• Lucie was busy with the adornment of her room.露西正忙着布置她的房间。
• Cosmetics are used for adornment.化妆品是用来打扮的。

171 extemporized   

v.即兴创作，即席演奏( extemporize的过去式和过去分词 )

参考例句：

• He completely departed from the text and extemporized in a very energetic fashion. 他完全脱稿，慷慨激昂地进行即席演说。 来自辞典例句
• The president extemporized a speech after the working dinner. 总裁即席发表了一篇工作餐后演说。 来自互联网

172 testimony   

n.证词；见证，证明

参考例句：

• The testimony given by him is dubious.他所作的证据是可疑的。
• He was called in to bear testimony to what the police officer said.他被传入为警官所说的话作证。

173 skilful   

(=skillful)adj.灵巧的，熟练的

参考例句：

• The more you practise,the more skilful you'll become.练习的次数越多，熟练的程度越高。
• He's not very skilful with his chopsticks.他用筷子不大熟练。

174 hurls   

v.猛投，用力掷( hurl的第三人称单数 )；大声叫骂

参考例句：

• Jane really hurls herself into learning any new song, doesn't she? 对任何新歌，简都会一心一意去学，对吗？ 来自《简明英汉词典》
• The necromancer hurls a bolt of dark energies against his enemies. 亡灵法师向对手射出一道带着黑暗能量的影束。 来自互联网

175 wrath   

n.愤怒，愤慨，暴怒

参考例句：

• His silence marked his wrath. 他的沉默表明了他的愤怒。
• The wrath of the people is now aroused. 人们被激怒了。

176 censor   

n./vt.审查，审查员；删改

参考例句：

• The film has not been viewed by the censor.这部影片还未经审查人员审查。
• The play was banned by the censor.该剧本被查禁了。

177 bellowing   

v.发出吼叫声，咆哮（尤指因痛苦）( bellow的现在分词 )；（愤怒地）说出（某事），大叫

参考例句：

• We could hear he was bellowing commands to his troops. 我们听见他正向他的兵士大声发布命令。 来自《简明英汉词典》
• He disguised these feelings under an enormous bellowing and hurraying. 他用大声吼叫和喝采掩饰着这些感情。 来自辞典例句

178 uproar   

n.骚动，喧嚣，鼎沸

参考例句：

• She could hear the uproar in the room.她能听见房间里的吵闹声。
• His remarks threw the audience into an uproar.他的讲话使听众沸腾起来。

179 jumbling   

混杂( jumble的现在分词 )； （使）混乱； 使混乱； 使杂乱

参考例句：

• Dividers that keep the files from jumBling. 使档案免于混淆的分类卡。

180 preposterous   

adj.荒谬的，可笑的

参考例句：

• The whole idea was preposterous.整个想法都荒唐透顶。
• It would be preposterous to shovel coal with a teaspoon.用茶匙铲煤是荒谬的。

181 notably   

adv.值得注意地，显著地，尤其地，特别地

参考例句：

• Many students were absent,notably the monitor.许多学生缺席，特别是连班长也没来。
• A notably short,silver-haired man,he plays basketball with his staff several times a week.他个子明显较为矮小，一头银发，每周都会和他的员工一起打几次篮球。

182 ridicule   

v.讥讽，挖苦；n.嘲弄

参考例句：

• You mustn't ridicule unfortunate people.你不该嘲笑不幸的人。
• Silly mistakes and queer clothes often arouse ridicule.荒谬的错误和古怪的服装常会引起人们的讪笑。

183 pontifical   

adj.自以为是的，武断的

参考例句：

• His words criticizing modern society just right indicate his pontifical character.他用以批评现代社会的言论恰好反映了他自大武断的性格。
• The lawyer,with pontifical gravity,sat on a high chair.那律师摆出一副威严庄重的样子，坐在一把高脚椅上。

184 rebuke   

v.指责，非难，斥责 [反]praise

参考例句：

• He had to put up with a smart rebuke from the teacher.他不得不忍受老师的严厉指责。
• Even one minute's lateness would earn a stern rebuke.哪怕迟到一分钟也将受到严厉的斥责。

185 illustrate   

v.举例说明，阐明；图解，加插图

参考例句：

• The company's bank statements illustrate its success.这家公司的银行报表说明了它的成功。
• This diagram will illustrate what I mean.这个图表可说明我的意思。

186 lust   

n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望

参考例句：

• He was filled with lust for power.他内心充满了对权力的渴望。
• Sensing the explorer's lust for gold, the chief wisely presented gold ornaments as gifts.酋长觉察出探险者们垂涎黄金的欲念，就聪明地把金饰品作为礼物赠送给他们。

187 chaotic   

adj.混沌的，一片混乱的，一团糟的

参考例句：

• Things have been getting chaotic in the office recently.最近办公室的情况越来越乱了。
• The traffic in the city was chaotic.这城市的交通糟透了。

188 adoption   

n.采用，采纳，通过；收养

参考例句：

• An adoption agency had sent the boys to two different families.一个收养机构把他们送给两个不同的家庭。
• The adoption of this policy would relieve them of a tremendous burden.采取这一政策会给他们解除一个巨大的负担。

189 persistent   

adj.坚持不懈的，执意的；持续的

参考例句：

• Albert had a persistent headache that lasted for three days.艾伯特连续头痛了三天。
• She felt embarrassed by his persistent attentions.他不时地向她大献殷勤，使她很难为情。

190 reverence   

n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬

参考例句：

• He was a bishop who was held in reverence by all.他是一位被大家都尊敬的主教。
• We reverence tradition but will not be fettered by it.我们尊重传统，但不被传统所束缚。

191 patronage   

n.赞助，支援，援助；光顾，捧场

参考例句：

• Though it was not yet noon,there was considerable patronage.虽然时间未到中午，店中已有许多顾客惠顾。
• I am sorry to say that my patronage ends with this.很抱歉，我的赞助只能到此为止。

192 dominions   

统治权( dominion的名词复数 )； 领土； 疆土； 版图

参考例句：

• The King sent messengers to every town, village and hamlet in his dominions. 国王派使者到国内每一个市镇，村落和山庄。
• European powers no longer rule over great overseas dominions. 欧洲列强不再统治大块海外领土了。

193 actively   

adv.积极地，勤奋地

参考例句：

• During this period all the students were actively participating.在这节课中所有的学生都积极参加。
• We are actively intervening to settle a quarrel.我们正在积极调解争执。

194 corrupt   

v.贿赂，收买；adj.腐败的，贪污的

参考例句：

• The newspaper alleged the mayor's corrupt practices.那家报纸断言市长有舞弊行为。
• This judge is corrupt.这个法官贪污。

195 hymns   

n.赞美诗，圣歌，颂歌( hymn的名词复数 )

参考例句：

• At first, they played the hymns and marches familiar to them. 起初他们只吹奏自己熟悉的赞美诗和进行曲。 来自英汉非文学 - 百科语料821
• I like singing hymns. 我喜欢唱圣歌。 来自辞典例句

196 chamber   

n.房间，寝室；会议厅；议院；会所

参考例句：

• For many,the dentist's surgery remains a torture chamber.对许多人来说，牙医的治疗室一直是间受刑室。
• The chamber was ablaze with light.会议厅里灯火辉煌。

197 worthily   

重要地，可敬地，正当地

参考例句：

• Many daughters have done worthily, But you surpass them all. 29行事有才德的女子很多，惟独你超过众人。
• Then as my gift, which your true love has worthily purchased, take mydaughter. 那么，就作为我的礼物，把我的女儿接受下来吧--这也是你的真实爱情应得的报偿。

198 cultivation   

n.耕作，培养，栽培（法），养成

参考例句：

• The cultivation in good taste is our main objective.培养高雅情趣是我们的主要目标。
• The land is not fertile enough to repay cultivation.这块土地不够肥沃，不值得耕种。

199 canonical   

n.权威的；典型的

参考例句：

• These canonical forms have to existence except in our imagination.这些正规式并不存在，只是我们的想象。
• This is a combinatorial problem in canonical form.这是组合论中的典型问题。

200 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

• It's precisely that sort of slick sales-talk that I mistrust.我不相信的正是那种油腔滑调的推销宣传。
• The man adjusted very precisely.那个人调得很准。

201 craftiest   

狡猾的，狡诈的( crafty的最高级 )

参考例句：

• The craftiest fox can't escape the skilled hunter. 狐狸再狡猾也斗不过好猎手。

202 guileful   

adj.狡诈的，诡计多端的

参考例句：

• Being cruel, guileful and unscrupulous, the terrorist committed all manners of crimes including murder and arson. 那个恐怖分子残酷、奸诈、肆无忌惮，杀人放火，无恶不做。 来自互联网

203 brutal   

adj.残忍的，野蛮的，不讲理的

参考例句：

• She has to face the brutal reality.她不得不去面对冷酷的现实。
• They're brutal people behind their civilised veneer.他们表面上温文有礼，骨子里却是野蛮残忍。

204 zealous   

adj.狂热的，热心的

参考例句：

• She made zealous efforts to clean up the classroom.她非常热心地努力清扫教室。
• She is a zealous supporter of our cause.她是我们事业的热心支持者。

205 zeal   

n.热心，热情，热忱

参考例句：

• Revolutionary zeal caught them up,and they joined the army.革命热情激励他们，于是他们从军了。
• They worked with great zeal to finish the project.他们热情高涨地工作，以期完成这个项目。

206 slaughter   

n.屠杀，屠宰；vt.屠杀，宰杀

参考例句：

• I couldn't stand to watch them slaughter the cattle.我不忍看他们宰牛。
• Wholesale slaughter was carried out in the name of progress.大规模的屠杀在维护进步的名义下进行。

207 misery   

n.痛苦，苦恼，苦难；悲惨的境遇，贫苦

参考例句：

• Business depression usually causes misery among the working class.商业不景气常使工薪阶层受苦。
• He has rescued me from the mire of misery.他把我从苦海里救了出来。

208 supremacy   

n.至上；至高权力

参考例句：

• No one could challenge her supremacy in gymnastics.她是最优秀的体操运动员，无人能胜过她。
• Theoretically,she holds supremacy as the head of the state.从理论上说，她作为国家的最高元首拥有至高无上的权力。

209 vassals   

n.奴仆( vassal的名词复数 )；（封建时代）诸侯；从属者；下属

参考例句：

• He was indeed at this time having the Central Office cleared of all but his vassals. 的确，他这时正在对中央事务所进行全面清洗（他的亲信除外）。 来自辞典例句
• The lowly vassals suffering all humiliates in both physical and mental aspects. 地位低下的奴仆，他们在身体上和精神上受尽屈辱。 来自互联网

210 steadily   

adv.稳定地；不变地；持续地

参考例句：

• The scope of man's use of natural resources will steadily grow.人类利用自然资源的广度将日益扩大。
• Our educational reform was steadily led onto the correct path.我们的教学改革慢慢上轨道了。

211 accomplished   

adj.有才艺的；有造诣的；达到了的

参考例句：

• Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
• Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。

212 nurture   

n.养育，照顾，教育；滋养，营养品；vt.养育，给与营养物，教养，扶持

参考例句：

• The tree grows well in his nurture.在他的培育下这棵树长得很好。
• The two sisters had received very different nurture.这俩个姊妹接受过极不同的教育。

213 nurtured   

养育( nurture的过去式和过去分词 )； 培育； 滋长； 助长

参考例句：

• She is looking fondly at the plants he had nurtured. 她深情地看着他培育的植物。
• Any latter-day Einstein would still be spotted and nurtured. 任何一个未来的爱因斯坦都会被发现并受到培养。

214 pliable   

adj.易受影响的；易弯的；柔顺的，易驾驭的

参考例句：

• Willow twigs are pliable.柳条很软。
• The finely twined baskets are made with young,pliable spruce roots.这些编织精美的篮子是用柔韧的云杉嫩树根编成的。

215 artifice   

n.妙计，高明的手段；狡诈，诡计

参考例句：

• The use of mirrors in a room is an artifice to make the room look larger.利用镜子装饰房间是使房间显得大一点的巧妙办法。
• He displayed a great deal of artifice in decorating his new house.他在布置新房子中表现出富有的技巧。

216 cloisters   

n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 )

参考例句：

• The thirteenth-century cloisters are amongst the most beautiful in central Italy. 这些13世纪的回廊是意大利中部最美的建筑。 来自辞典例句
• Some lovely Christian Science ladies had invited her to a concert at the cloisters. 有几位要好的基督教科学社的女士请她去修道院音乐厅听一个音乐会。 来自辞典例句

217 adepts   

n.专家，能手( adept的名词复数 )

参考例句：

• And, of course, all the dark side adepts will choose that faction. 开发商没有提供有关强盗阵营的特色的内容，但我估计应该是猎枪(shotgun)吧。 来自互联网
• The adepts in Washington mean to give rather than to take. 华盛顿的老手意味着给予而不是索取。 来自互联网

218 improvise   

v.即兴创作；临时准备，临时凑成

参考例句：

• If an actor forgets his words，he has to improvise.演员要是忘记台词，那就只好即兴现编。
• As we've not got the proper materials,we'll just have to improvise.我们没有弄到合适的材料，只好临时凑合了。

219 Augmented   

adj.增音的 动词augment的过去式和过去分词形式

参考例句：

• 'scientists won't be replaced," he claims, "but they will be augmented." 他宣称：“科学家不会被取代；相反，他们会被拓展。” 来自英汉非文学 - 科学史
• The impact of the report was augmented by its timing. 由于发表的时间选得好，这篇报导的影响更大了。

220 inverted   

adj.反向的，倒转的v.使倒置，使反转( invert的过去式和过去分词 )

参考例句：

• Only direct speech should go inside inverted commas. 只有直接引语应放在引号内。
• Inverted flight is an acrobatic manoeuvre of the plane. 倒飞是飞机的一种特技动作。 来自《简明英汉词典》

221 portentous   

adj.不祥的，可怕的，装腔作势的

参考例句：

• The present aspect of society is portentous of great change.现在的社会预示着重大变革的发生。
• There was nothing portentous or solemn about him.He was bubbling with humour.他一点也不装腔作势或故作严肃，浑身散发着幽默。

222 faculty   

n.才能；学院，系；(学院或系的)全体教学人员

参考例句：

• He has a great faculty for learning foreign languages.他有学习外语的天赋。
• He has the faculty of saying the right thing at the right time.他有在恰当的时候说恰当的话的才智。

223 labored   

adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转

参考例句：

• I was close enough to the elk to hear its labored breathing. 我离那头麋鹿非常近，能听见它吃力的呼吸声。 来自辞典例句
• They have labored to complete the job. 他们努力完成这一工作。 来自辞典例句

224 revelled   

v.作乐( revel的过去式和过去分词 )；狂欢；着迷；陶醉

参考例句：

• The foreign guests revelled in the scenery of the lake. 外宾们十分喜爱湖上的景色。 来自辞典例句
• He revelled in those moments of idleness stolen from his work. 他喜爱学习之余的闲暇时刻。 来自辞典例句

225 subtlety   

n.微妙，敏锐，精巧；微妙之处，细微的区别

参考例句：

• He has shown enormous strength,great intelligence and great subtlety.他表现出充沛的精力、极大的智慧和高度的灵活性。
• The subtlety of his remarks was unnoticed by most of his audience.大多数听众都没有觉察到他讲话的微妙之处。

226 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

227 labyrinths   

迷宫( labyrinth的名词复数 )； （文字，建筑）错综复杂的

参考例句：

• I was engulfed in labyrinths of trouble too great to get out at all. 我陷入困难的迷宫中去，简直无法脱身。
• I've explored ancient castles, palaces, temples, tombs, catacombs and labyrinths. 我曾在古堡、古皇宫、古神庙、古墓、地下墓穴和迷宫中探险。

228 dwelling   

n.住宅，住所，寓所

参考例句：

• Those two men are dwelling with us.那两个人跟我们住在一起。
• He occupies a three-story dwelling place on the Park Street.他在派克街上有一幢3层楼的寓所。

229 poetic   

adj.富有诗意的，有诗人气质的，善于抒情的

参考例句：

• His poetic idiom is stamped with expressions describing group feeling and thought.他的诗中的措辞往往带有描写群体感情和思想的印记。
• His poetic novels have gone through three different historical stages.他的诗情小说创作经历了三个不同的历史阶段。

230 pertinent   

adj.恰当的；贴切的；中肯的；有关的；相干的

参考例句：

• The expert made some pertinent comments on the scheme.那专家对规划提出了一些中肯的意见。
• These should guide him to pertinent questions for further study.这些将有助于他进一步研究有关问题。

231 promotion   

n.提升，晋级；促销，宣传

参考例句：

• The teacher conferred with the principal about Dick's promotion.教师与校长商谈了迪克的升级问题。
• The clerk was given a promotion and an increase in salary.那个职员升了级，加了薪。

232 syllable   

n.音节；vt.分音节

参考例句：

• You put too much emphasis on the last syllable.你把最后一个音节读得太重。
• The stress on the last syllable is light.最后一个音节是轻音节。

233 pier   

n.码头；桥墩，桥柱；[建]窗间壁，支柱

参考例句：

• The pier of the bridge has been so badly damaged that experts worry it is unable to bear weight.这座桥的桥桩破损厉害，专家担心它已不能负重。
• The ship was making towards the pier.船正驶向码头。

234 majesty   

n.雄伟，壮丽，庄严，威严；最高权威，王权

参考例句：

• The king had unspeakable majesty.国王有无法形容的威严。
• Your Majesty must make up your mind quickly!尊贵的陛下，您必须赶快做出决定！

235 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

236 shrine   

n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣

参考例句：

• The shrine was an object of pilgrimage.这处圣地是人们朝圣的目的地。
• They bowed down before the shrine.他们在神龛前鞠躬示敬。

237 judgment   

n.审判；判断力，识别力，看法，意见

参考例句：

• The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
• He's a man of excellent judgment.他眼力过人。

238 cardinals   

红衣主教( cardinal的名词复数 )； 红衣凤头鸟（见于北美，雄鸟为鲜红色）； 基数

参考例句：

• cardinals in scarlet robes 身披红袍的枢机主教
• A conclave of cardinals was held to elect the new Pope. 红衣主教团举行了秘密会议来选举新教皇。

239 contented   

adj.满意的，安心的，知足的

参考例句：

• He won't be contented until he's upset everyone in the office.不把办公室里的每个人弄得心烦意乱他就不会满足。
• The people are making a good living and are contented,each in his station.人民安居乐业。

240 bishops   

（基督教某些教派管辖大教区的）主教( bishop的名词复数 )； （国际象棋的）象

参考例句：

• Each player has two bishops at the start of the game. 棋赛开始时，每名棋手有两只象。
• "Only sheriffs and bishops and rich people and kings, and such like. “他劫富济贫，抢的都是郡长、主教、国王之类的富人。

241 impure   

adj.不纯净的，不洁的；不道德的，下流的

参考例句：

• The air of a big city is often impure.大城市的空气往往是污浊的。
• Impure drinking water is a cause of disease.不洁的饮用水是引发疾病的一个原因。

242 lascivious   

adj.淫荡的，好色的

参考例句：

• I was there to protect her from the importunities of lascivious men.我在那里保护她,不受那些好色男子的纠缠不休。
• In his old age Cato became lascivious and misconducted himself with a woman slave.到了晚年,卡托沉溺于女色,跟一个女奴私通。

243 jurisdiction   

n.司法权，审判权，管辖权，控制权

参考例句：

• It doesn't lie within my jurisdiction to set you free.我无权将你释放。
• Changzhou is under the jurisdiction of Jiangsu Province.常州隶属江苏省。

244 minor   

adj.较小(少)的，较次要的；n.辅修学科；vi.辅修

参考例句：

• The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
• I gave him a minor share of my wealth.我把小部分财产给了他。

245 propriety   

n.正当行为；正当；适当

参考例句：

• We hesitated at the propriety of the method.我们对这种办法是否适用拿不定主意。
• The sensitive matter was handled with great propriety.这件机密的事处理得极为适当。

246 profane   

adj.亵神的，亵渎的；vt.亵渎，玷污

参考例句：

• He doesn't dare to profane the name of God.他不敢亵渎上帝之名。
• His profane language annoyed us.他亵渎的言语激怒了我们。

247 profanation   

n.亵渎

参考例句：

• He felt it as a profanation to break upon that enchanted strain. 他觉得打断这迷人的音乐是极不礼貌。 来自辞典例句

248 strenuous   

adj.奋发的，使劲的；紧张的；热烈的，狂热的

参考例句：

• He made strenuous efforts to improve his reading. 他奋发努力提高阅读能力。
• You may run yourself down in this strenuous week.你可能会在这紧张的一周透支掉自己。

249 abolition   

n.废除，取消

参考例句：

• They declared for the abolition of slavery.他们声明赞成废除奴隶制度。
• The abolition of the monarchy was part of their price.废除君主制是他们的其中一部分条件。

250 inevitably   

adv.不可避免地；必然发生地

参考例句：

• In the way you go on,you are inevitably coming apart.照你们这样下去，毫无疑问是会散伙的。
• Technological changes will inevitably lead to unemployment.技术变革必然会导致失业。

251 elevation   

n.高度；海拔；高地；上升；提高

参考例句：

• The house is at an elevation of 2,000 metres.那幢房子位于海拔两千米的高处。
• His elevation to the position of General Manager was announced yesterday.昨天宣布他晋升总经理职位。

252 potent   

adj.强有力的，有权势的；有效力的

参考例句：

• The medicine had a potent effect on your disease.这药物对你的病疗效很大。
• We must account of his potent influence.我们必须考虑他的强有力的影响。

253 renown   

n.声誉，名望

参考例句：

• His renown has spread throughout the country.他的名声已传遍全国。
• She used to be a singer of some renown.她曾是位小有名气的歌手。

254 dubiously   

adv.可疑地，怀疑地

参考例句：

• "What does he have to do?" queried Chin dubiously. “他有什么心事？”琴向觉民问道，她的脸上现出疑惑不解的神情。 来自汉英文学 - 家（1-26） - 家（1-26）
• He walked out fast, leaving the head waiter staring dubiously at the flimsy blue paper. 他很快地走出去，撇下侍者头儿半信半疑地瞪着这张薄薄的蓝纸。 来自辞典例句

255 versed   

adj. 精通，熟练

参考例句：

• He is well versed in history.他精通历史。
• He versed himself in European literature. 他精通欧洲文学。

256 culmination   

n.顶点；最高潮

参考例句：

• The space race reached its culmination in the first moon walk.太空竞争以第一次在月球行走而达到顶峰。
• It may truly be regarded as the culmination of classical Greek geometry.这确实可以看成是古典希腊几何的登峰造级之作。

257 essentially   

adv.本质上，实质上，基本上

参考例句：

• Really great men are essentially modest.真正的伟人大都很谦虚。
• She is an essentially selfish person.她本质上是个自私自利的人。

258 condemned   

adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词

参考例句：

• He condemned the hypocrisy of those politicians who do one thing and say another. 他谴责了那些说一套做一套的政客的虚伪。
• The policy has been condemned as a regressive step. 这项政策被认为是一种倒退而受到谴责。

259 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：

• He seemed a bit subdued to me. 我觉得他当时有点闷闷不乐。
• I felt strangely subdued when it was all over. 一切都结束的时候，我却有一种奇怪的压抑感。

260 abounding   

adj.丰富的，大量的v.大量存在，充满，富于( abound的现在分词 )

参考例句：

• Ahead lay the scalloped ocean and the abounding blessed isles. 再往前是水波荡漾的海洋和星罗棋布的宝岛。 来自英汉文学 - 盖茨比
• The metallic curve of his sheep-crook shone silver-bright in the same abounding rays. 他那弯柄牧羊杖上的金属曲线也在这一片炽盛的火光下闪着银亮的光。 来自辞典例句

261 tinted   

adj. 带色彩的 动词tint的过去式和过去分词

参考例句：

• a pair of glasses with tinted lenses 一副有色镜片眼镜
• a rose-tinted vision of the world 对世界的理想化看法

262 embodied   

v.表现( embody的过去式和过去分词 )；象征；包括；包含

参考例句：

• a politician who embodied the hopes of black youth 代表黑人青年希望的政治家
• The heroic deeds of him embodied the glorious tradition of the troops. 他的英雄事迹体现了军队的光荣传统。 来自《简明英汉词典》

263 sensuous   

adj.激发美感的；感官的，感觉上的

参考例句：

• Don't get the idea that value of music is commensurate with its sensuous appeal.不要以为音乐的价值与其美的感染力相等。
• The flowers that wreathed his parlor stifled him with their sensuous perfume.包围著客厅的花以其刺激人的香味使他窒息。

264 condemnation   

n.谴责; 定罪

参考例句：

• There was widespread condemnation of the invasion. 那次侵略遭到了人们普遍的谴责。
• The jury's condemnation was a shock to the suspect. 陪审团宣告有罪使嫌疑犯大为震惊。

265 avarice   

n.贪婪；贪心

参考例句：

• Avarice is the bane to happiness.贪婪是损毁幸福的祸根。
• Their avarice knows no bounds and you can never satisfy them.他们贪得无厌，你永远无法满足他们。

266 corruption   

n.腐败，堕落，贪污

参考例句：

• The people asked the government to hit out against corruption and theft.人民要求政府严惩贪污盗窃。
• The old man reviled against corruption.那老人痛斥了贪污舞弊。

267 indifference   

n.不感兴趣，不关心，冷淡，不在乎

参考例句：

• I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
• He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。

268 humiliation   

n.羞辱

参考例句：

• He suffered the humiliation of being forced to ask for his cards.他蒙受了被迫要求辞职的羞辱。
• He will wish to revenge his humiliation in last Season's Final.他会为在上个季度的决赛中所受的耻辱而报复的。

269 accusations   

n.指责( accusation的名词复数 )；指控；控告；（被告发、控告的）罪名

参考例句：

• There were accusations of plagiarism. 曾有过关于剽窃的指控。
• He remained unruffled by their accusations. 对于他们的指控他处之泰然。

270 unimpeachable   

adj.无可指责的；adv.无可怀疑地

参考例句：

• He said all five were men of unimpeachable character.他说这五个都是品格完美无缺的人。
• It is the revenge that nature takes on persons of unimpeachable character.这是自然对人品无瑕的人的报复。

271 enjoyments   

愉快( enjoyment的名词复数 )； 令人愉快的事物； 享有； 享受

参考例句：

• He is fond of worldly enjoyments. 他喜爱世俗的享乐。
• The humanities and amenities of life had no attraction for him--its peaceful enjoyments no charm. 对他来说，生活中的人情和乐趣并没有吸引力——生活中的恬静的享受也没有魅力。

272 aggrandizement   

n.增大，强化，扩大

参考例句：

• Her sole aim is personal aggrandizement. 她唯一的目的就是扩大个人权势。
• His sole aim is personal aggrandizement. 他唯一的目标就是要扩充个人的权势。 来自辞典例句

273 sufficiently   

adv.足够地，充分地

参考例句：

• It turned out he had not insured the house sufficiently.原来他没有给房屋投足保险。
• The new policy was sufficiently elastic to accommodate both views.新政策充分灵活地适用两种观点。

274 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

• We should take some time to enjoy the sublime beauty of nature.我们应该花些时间去欣赏大自然的壮丽景象。
• Olympic games play as an important arena to exhibit the sublime idea.奥运会，就是展示此崇高理念的重要舞台。

275 founders   

n.创始人( founder的名词复数 )

参考例句：

• He was one of the founders of the university's medical faculty. 他是该大学医学院的创建人之一。 来自辞典例句
• The founders of our religion made this a cornerstone of morality. 我们宗教的创始人把这看作是道德的基石。 来自辞典例句

276 Founder   

n.创始者，缔造者

参考例句：

• He was extolled as the founder of their Florentine school.他被称颂为佛罗伦萨画派的鼻祖。
• According to the old tradition,Romulus was the founder of Rome.按照古老的传说，罗穆卢斯是古罗马的建国者。

277 agitated   

adj.被鼓动的，不安的

参考例句：

• His answers were all mixed up,so agitated was he.他是那样心神不定，回答全乱了。
• She was agitated because her train was an hour late.她乘坐的火车晚点一个小时，她十分焦虑。

278 ferment   

vt.使发酵；n./vt.（使）激动，（使）动乱

参考例句：

• Fruit juices ferment if they are kept a long time.果汁若是放置很久，就会发酵。
• The sixties were a time of theological ferment.六十年代是神学上骚动的时代。

279 mundane   

adj.平凡的；尘世的；宇宙的

参考例句：

• I hope I can get an interesting job and not something mundane.我希望我可以得到的是一份有趣的工作，而不是一份平凡无奇的。
• I find it humorous sometimes that even the most mundane occurrences can have an impact on our awareness.我发现生活有时挺诙谐的，即使是最平凡的事情也能影响我们的感知。

280 engrossing   

adj.使人全神贯注的，引人入胜的v.使全神贯注( engross的现在分词 )

参考例句：

• He told us an engrossing story. 他给我们讲了一个引人入胜的故事。 来自《简明英汉词典》
• It might soon have ripened into that engrossing feeling. 很快便会发展成那种压倒一切的感情的。 来自辞典例句

281 sanctuary   

n.圣所，圣堂，寺庙；禁猎区，保护区

参考例句：

• There was a sanctuary of political refugees behind the hospital.医院后面有一个政治难民的避难所。
• Most countries refuse to give sanctuary to people who hijack aeroplanes.大多数国家拒绝对劫机者提供庇护。

282 affected   

adj.不自然的，假装的

参考例句：

• She showed an affected interest in our subject.她假装对我们的课题感到兴趣。
• His manners are affected.他的态度不自然。

283 luxurious   

adj.精美而昂贵的；豪华的

参考例句：

• This is a luxurious car complete with air conditioning and telephone.这是一辆附有空调设备和电话的豪华轿车。
• The rich man lives in luxurious surroundings.这位富人生活在奢侈的环境中。

284 inordinate   

adj.无节制的；过度的

参考例句：

• The idea of this gave me inordinate pleasure.我想到这一点感到非常高兴。
• James hints that his heroine's demands on life are inordinate.詹姆斯暗示他的女主人公对于人生过于苛求。

285 liturgy   

n.礼拜仪式

参考例句：

• A clergyman read the liturgy from the prayer-book.一名牧师照着祈祷书念祷文。
• The mass is the church a kind of liturgy.弥撒是教会的一种礼拜仪式。

286 impelled   

v.推动、推进或敦促某人做某事( impel的过去式和过去分词 )

参考例句：

• He felt impelled to investigate further. 他觉得有必要作进一步调查。
• I feel impelled to express grave doubts about the project. 我觉得不得不对这项计划深表怀疑。 来自《简明英汉词典》

287 consummate   

adj.完美的；v.成婚；使完美 [反]baffle

参考例句：

• The restored jade burial suit fully reveals the consummate skill of the labouring people of ancient China.复原后的金缕玉衣充分显示出中国古代劳动人民的精湛工艺。
• The actor's acting is consummate and he is loved by the audience.这位演员技艺精湛，深受观众喜爱。

288 attainment   

n.达到，到达；［常pl.］成就，造诣

参考例句：

• We congratulated her upon her attainment to so great an age.我们祝贺她高寿。
• The attainment of the success is not easy.成功的取得并不容易。

289 tonic   

n./adj.滋补品，补药，强身的，健体的

参考例句：

• It will be marketed as a tonic for the elderly.这将作为老年人滋补品在市场上销售。
• Sea air is Nature's best tonic for mind and body.海上的空气是大自然赋予的对人们身心的最佳补品。

290 dominant   

adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因

参考例句：

• The British were formerly dominant in India.英国人从前统治印度。
• She was a dominant figure in the French film industry.她在法国电影界是个举足轻重的人物。

291 modulation   

n.调制

参考例句：

• The soft modulation of her voice soothed the infant. 她柔和的声调使婴儿安静了。
• Frequency modulation does not allow static to creep in. 频率调制不允许静电干扰混入。

292 concoction   

n.调配(物)；谎言

参考例句：

• She enjoyed the concoction of foreign dishes.她喜欢调制外国菜。
• His story was a sheer concoction.他的故事实在是一纯属捏造之事。

293 strictly   

adv.严厉地，严格地；严密地

参考例句：

• His doctor is dieting him strictly.他的医生严格规定他的饮食。
• The guests were seated strictly in order of precedence.客人严格按照地位高低就座。

294 monotonous   

adj.单调的，一成不变的，使人厌倦的

参考例句：

• She thought life in the small town was monotonous.她觉得小镇上的生活单调而乏味。
• His articles are fixed in form and monotonous in content.他的文章千篇一律，一个调调儿。

295 cohesion   

n.团结，凝结力

参考例句：

• I had to bring some cohesion into the company.我得使整个公司恢复凝聚力。
• The power of culture is deeply rooted in the vitality,creativity and cohesion of a nation. 文化的力量，深深熔铸在民族的生命力、创造力和凝聚力之中。

296 chromatic   

adj.色彩的，颜色的

参考例句：

• The removal of the chromatic aberration is then of primary importance.这时消除色差具有头等重要性。
• In lampblack many kitchens easy to present the chromatic aberration.油烟较多的厨房中易出现色差。

297 cadence   

n.（说话声调的）抑扬顿挫

参考例句：

• He delivered his words in slow,measured cadences.他讲话缓慢而抑扬顿挫、把握有度。
• He liked the relaxed cadence of his retired life.他喜欢退休生活的悠闲的节奏。

298 obviate   

v.除去，排除，避免，预防

参考例句：

• Improved public transportation would obviate the need tor everyone to have their own car.公共交通的改善消除了每人都要有车的必要性。
• This deferral would obviate pressure on the rouble exchange rate.这一延期将消除卢布汇率面临的压力。

299 revolving   

adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想

参考例句：

• The theatre has a revolving stage. 剧院有一个旋转舞台。
• The company became a revolving-door workplace. 这家公司成了工作的中转站。

300 systematically   

adv.有系统地

参考例句：

• This government has systematically run down public services since it took office.这一屆政府自上台以来系统地削减了公共服务。
• The rainforest is being systematically destroyed.雨林正被系统地毀灭。

301 tranquil   

adj. 安静的, 宁静的, 稳定的, 不变的

参考例句：

• The boy disturbed the tranquil surface of the pond with a stick. 那男孩用棍子打破了平静的池面。
• The tranquil beauty of the village scenery is unique. 这乡村景色的宁静是绝无仅有的。

302 serene   

adj. 安详的，宁静的，平静的

参考例句：

• He has entered the serene autumn of his life.他已进入了美好的中年时期。
• He didn't speak much,he just smiled with that serene smile of his.他话不多，只是脸上露出他招牌式的淡定的微笑。

303 repose   

v.(使)休息；n.安息

参考例句：

• Don't disturb her repose.不要打扰她休息。
• Her mouth seemed always to be smiling,even in repose.她的嘴角似乎总是挂着微笑，即使在睡眠时也是这样。

304 apparently   

adv.显然地；表面上，似乎

参考例句：

• An apparently blind alley leads suddenly into an open space.山穷水尽，豁然开朗。
• He was apparently much surprised at the news.他对那个消息显然感到十分惊异。

305 onward   

adj.向前的，前进的；adv.向前，前进，在先

参考例句：

• The Yellow River surges onward like ten thousand horses galloping.黄河以万马奔腾之势滚滚向前。
• He followed in the steps of forerunners and marched onward.他跟随着先辈的足迹前进。

306 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

307 constituent   

n.选民；成分，组分；adj.组成的，构成的

参考例句：

• Sugar is the main constituent of candy.食糖是糖果的主要成分。
• Fibre is a natural constituent of a healthy diet.纤维是健康饮食的天然组成部分。

308 constituents   

n.选民( constituent的名词复数 )；成分；构成部分；要素

参考例句：

• She has the full support of her constituents. 她得到本区选民的全力支持。
• Hydrogen and oxygen are the constituents of water. 氢和氧是水的主要成分。 来自《简明英汉词典》

309 thither   

adv.向那里；adj.在那边的，对岸的

参考例句：

• He wandered hither and thither looking for a playmate.他逛来逛去找玩伴。
• He tramped hither and thither.他到处流浪。

310 throbbing   

a. 跳动的,悸动的

参考例句：

• My heart is throbbing and I'm shaking. 我的心在猛烈跳动，身子在不住颤抖。
• There was a throbbing in her temples. 她的太阳穴直跳。

311 analyzing   

v.分析；分析( analyze的现在分词 )；分解；解释；对…进行心理分析n.分析

参考例句：

• Analyzing the date of some socialist countries presents even greater problem s. 分析某些社会主义国家的统计数据，暴露出的问题甚至更大。 来自辞典例句
• He undoubtedly was not far off the mark in analyzing its predictions. 当然，他对其预测所作的分析倒也八九不离十。 来自辞典例句

312 conspicuous   

adj.明眼的，惹人注目的；炫耀的，摆阔气的

参考例句：

• It is conspicuous that smoking is harmful to health.很明显，抽烟对健康有害。
• Its colouring makes it highly conspicuous.它的色彩使它非常惹人注目。

313 aesthetic   

adj.美学的，审美的，有美感

参考例句：

• My aesthetic standards are quite different from his.我的审美标准与他的大不相同。
• The professor advanced a new aesthetic theory.那位教授提出了新的美学理论。

314 modulated   

已调整[制]的，被调的

参考例句：

• He carefully modulated his voice. 他小心地压低了声音。
• He had a plump face, lemur-like eyes, a quiet, subtle, modulated voice. 他有一张胖胖的脸，狐猴般的眼睛，以及安详、微妙和富于抑扬顿挫的嗓音。

315 timbre   

n.音色，音质

参考例句：

• His voice had a deep timbre.他嗓音低沉。
• The timbre of the violin is far richer than that of the mouth organ.小提琴的音色远比口琴丰富。

316 analogous   

adj.相似的；类似的

参考例句：

• The two situations are roughly analogous.两种情況大致相似。
• The company is in a position closely analogous to that of its main rival.该公司与主要竞争对手的处境极为相似。

317 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

318 components   

（机器、设备等的）构成要素，零件，成分； 成分( component的名词复数 )； [物理化学]组分； [数学]分量； （混合物的）组成部分

参考例句：

• the components of a machine 机器部件
• Our chemistry teacher often reduces a compound to its components in lab. 在实验室中化学老师常把化合物分解为各种成分。

319 sonority   

n.响亮，宏亮

参考例句：

• Vowels possess greater sonority than consonants.元音比辅音响亮。
• The introduction presents arpeggios on the harp against a string tremolo--an enchanting sonority.引子在弦乐的震音上竖琴奏出了琶音，一种迷人的音响。

320 elimination   

n.排除，消除，消灭

参考例句：

• Their elimination from the competition was a great surprise.他们在比赛中遭到淘汰是个很大的意外。
• I was eliminated from the 400 metres in the semi-finals.我在400米半决赛中被淘汰。

321 concord   

n.和谐；协调

参考例句：

• These states had lived in concord for centuries.这些国家几个世纪以来一直和睦相处。
• His speech did nothing for racial concord.他的讲话对种族和谐没有作用。

322 lustrous   

adj.有光泽的；光辉的

参考例句：

• Mary has a head of thick,lustrous,wavy brown hair.玛丽有一头浓密、富有光泽的褐色鬈发。
• This mask definitely makes the skin fair and lustrous.这款面膜可以异常有用的使肌肤变亮和有光泽。

323 tints   

色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹

参考例句：

• leaves with red and gold autumn tints 金秋时节略呈红黄色的树叶
• The whole countryside glowed with autumn tints. 乡间处处呈现出灿烂的秋色。

324 engraver   

n.雕刻师，雕工

参考例句：

• He was a sketcher and a copper-plate engraver. 他也是杰出的素描家和铜版画家。 来自辞典例句
• He was once an engraver in a printing factory. 他以前是印刷厂的一名刻工。 来自互联网

325 compensating   

补偿，补助，修正

参考例句：

• I am able to set up compensating networks of nerve connections. 我能建立起补偿性的神经联系网。
• It is desirable that compensating cables be run in earthed conduit. 补偿导线最好在地下管道中穿过。

326 delicacy   

n.精致，细微，微妙，精良；美味，佳肴

参考例句：

• We admired the delicacy of the craftsmanship.我们佩服工艺师精巧的手艺。
• He sensed the delicacy of the situation.他感觉到了形势的微妙。

327 distinguished   

adj.卓越的，杰出的，著名的

参考例句：

• Elephants are distinguished from other animals by their long noses.大象以其长长的鼻子显示出与其他动物的不同。
• A banquet was given in honor of the distinguished guests.宴会是为了向贵宾们致敬而举行的。

328 splendors   

n.华丽( splendor的名词复数 )；壮丽；光辉；显赫

参考例句：

• The sun rose presently and sent its unobstructed splendors over the land. 没多大工夫，太阳就出来了，毫无阻碍，把它的光华异彩散布在大地之上。 来自辞典例句
• Her mortal frame could not endure the splendors of the immortal radiance. 她那世人的肉身禁不住炽热的神光。 来自辞典例句

329 emulated   

v.与…竞争( emulate的过去式和过去分词 )；努力赶上；计算机程序等仿真；模仿

参考例句：

• The havoc that months had previously wrought was now emulated by the inroads of hours. 前几个月已经使他垮下来，如今更是一小时一小时地在恶化。 来自辞典例句
• The key technology emulated by CAD and the circuit is showed. 对关键技术进行了仿真，给出了电路实现形式。 来自互联网

330 ineffable   

adj.无法表达的，不可言喻的

参考例句：

• The beauty of a sunset is ineffable.日落的美是难以形容的。
• She sighed a sigh of ineffable satisfaction,as if her cup of happiness were now full.她发出了一声说不出多么满意的叹息，仿佛她的幸福之杯已经斟满了。

331 impersonal   

adj.无个人感情的，与个人无关的，非人称的

参考例句：

• Even his children found him strangely distant and impersonal.他的孩子们也认为他跟其他人很疏远，没有人情味。
• His manner seemed rather stiff and impersonal.他的态度似乎很生硬冷淡。

332 impersonality   

n.无人情味

参考例句：

• He searched for a topic which would warm her office impersonality into friendliness. 他想找一个话题，使她一本正经的态度变得友好一点。
• The method features speediness, exactness, impersonality, and non-invasion to the sample. 该法具有快速、准确、客观和不损坏样品等特点。

333 attaining   

（通常经过努力）实现( attain的现在分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• Jim is halfway to attaining his pilot's licence. 吉姆就快要拿到飞行员执照了。
• By that time she was attaining to fifty. 那时她已快到五十岁了。

334 intensity   

n.强烈，剧烈；强度；烈度

参考例句：

• I didn't realize the intensity of people's feelings on this issue.我没有意识到这一问题能引起群情激奋。
• The strike is growing in intensity.罢工日益加剧。

335 unprecedented   

adj.无前例的，新奇的

参考例句：

• The air crash caused an unprecedented number of deaths.这次空难的死亡人数是空前的。
• A flood of this sort is really unprecedented.这样大的洪水真是十年九不遇。

336 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：

• It is young people who favor holding Beauty pageants. 赞成举办选美的是年轻人。 来自互联网
• Others say that there's a fine line between the pageants and sexual exploitation. 其他人说，选美和性剥削之间只有非常细微的界线。 来自互联网

337 climax   

n.顶点；高潮；v.(使)达到顶点

参考例句：

• The fifth scene was the climax of the play.第五场是全剧的高潮。
• His quarrel with his father brought matters to a climax.他与他父亲的争吵使得事态发展到了顶点。

338 adventurous   

adj.爱冒险的；惊心动魄的，惊险的，刺激的　

参考例句：

• I was filled with envy at their adventurous lifestyle.我很羨慕他们敢于冒险的生活方式。
• He was predestined to lead an adventurous life.他注定要过冒险的生活。

339 cumulative   

adj.累积的，渐增的

参考例句：

• This drug has a cumulative effect.这种药有渐增的效力。
• The benefits from eating fish are cumulative.吃鱼的好处要长期才能显现。

340 grandeur   

n.伟大，崇高，宏伟，庄严，豪华

参考例句：

• The grandeur of the Great Wall is unmatched.长城的壮观是独一无二的。
• These ruins sufficiently attest the former grandeur of the place.这些遗迹充分证明此处昔日的宏伟。

341 profusion   

n.挥霍；丰富

参考例句：

• He is liberal to profusion.他挥霍无度。
• The leaves are falling in profusion.落叶纷纷。

342 fervent   

adj.热的，热烈的，热情的

参考例句：

• It was a debate which aroused fervent ethical arguments.那是一场引发强烈的伦理道德争论的辩论。
• Austria was among the most fervent supporters of adolf hitler.奥地利是阿道夫希特勒最狂热的支持者之一。

343 resounds   

v.（指声音等）回荡于某处( resound的第三人称单数 )；产生回响；（指某处）回荡着声音

参考例句：

• When the Christmas musical box, music resounds, Christmas old man swinging. 圣诞音乐盒，音乐响起时，圣诞老人会摆动。 来自互联网
• In the epilogue, the Silk Road resounds with the song of friendship. 尾声：丝绸之路上洋溢着友谊之歌。 来自互联网

344 fiery   

adj.燃烧着的，火红的；暴躁的；激烈的

参考例句：

• She has fiery red hair.她有一头火红的头发。
• His fiery speech agitated the crowd.他热情洋溢的讲话激动了群众。

345 eminent   

adj.显赫的，杰出的，有名的，优良的

参考例句：

• We are expecting the arrival of an eminent scientist.我们正期待一位著名科学家的来访。
• He is an eminent citizen of China.他是一个杰出的中国公民。

346 embryo   

n.胚胎，萌芽的事物

参考例句：

• They are engaging in an embryo research.他们正在进行一项胚胎研究。
• The project was barely in embryo.该计划只是个雏形。

347 amorphous   

adj.无定形的

参考例句：

• There was a weakening of the intermolecular bonds,primarily in the amorphous region of the polymer.分子间键合减弱，尤其在聚合物的无定形区内更为明显。
• It is an amorphous colorless or white powder.它是一种无定形的无色或白色粉末。

348 potency   

n. 效力，潜能

参考例句：

• Alcohol increases the drug's potency.酒精能增加这种毒品的效力。
• Sunscreen can lose its potency if left over winter in the bathroom cabinet.如果把防晒霜在盥洗室的壁橱里放一个冬天，就有可能失效。

349 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

参考例句：

• Judas was one of the twelve disciples of Jesus. 犹大是耶稣十二门徒之一。 来自《简明英汉词典》
• "The names of the first two disciples were --" “最初的两个门徒的名字是——” 来自英汉文学 - 汤姆历险

350 fervor   

n.热诚；热心；炽热

参考例句：

• They were concerned only with their own religious fervor.他们只关心自己的宗教热诚。
• The speech aroused nationalist fervor.这个演讲喚起了民族主义热情。

351 lavish   

adj.无节制的；浪费的；vt.慷慨地给予，挥霍

参考例句：

• He despised people who were lavish with their praises.他看不起那些阿谀奉承的人。
• The sets and costumes are lavish.布景和服装极尽奢华。

352 permeated   

弥漫( permeate的过去式和过去分词 )； 遍布； 渗入； 渗透

参考例句：

• The smell of leather permeated the room. 屋子里弥漫着皮革的气味。
• His public speeches were permeated with hatred of injustice. 在他对民众的演说里，充满了对不公正的愤慨。

353 penetrate   

v.透(渗)入；刺入，刺穿；洞察，了解

参考例句：

• Western ideas penetrate slowly through the East.西方观念逐渐传入东方。
• The sunshine could not penetrate where the trees were thickest.阳光不能透入树木最浓密的地方。

354 devout   

adj.虔诚的，虔敬的，衷心的 (n.devoutness)

参考例句：

• His devout Catholicism appeals to ordinary people.他对天主教的虔诚信仰感染了普通民众。
• The devout man prayed daily.那位虔诚的男士每天都祈祷。

355 supplication   

n.恳求，祈愿，哀求

参考例句：

• She knelt in supplication. 她跪地祷求。
• The supplication touched him home. 这个请求深深地打动了他。 来自英汉文学 - 双城记

356 liturgical   

adj.礼拜仪式的

参考例句：

• This period corresponds with the liturgical season of Christmas.这个时期与圣诞节的礼拜季节相一致。
• This is a book of liturgical forms.这是一本关于礼拜仪式的书。

357 ordinances   

n.条例，法令( ordinance的名词复数 )

参考例句：

• These points of view, however, had not been generally accepted in building ordinances. 然而，这些观点仍未普遍地为其他的建筑条例而接受。 来自辞典例句
• Great are Your mercies, O Lord; Revive me according to Your ordinances. 诗119:156耶和华阿、你的慈悲本为大．求你照你的典章将我救活。 来自互联网

358 albeit   

conj.即使；纵使；虽然

参考例句：

• Albeit fictional,she seemed to have resolved the problem.虽然是虚构的，但是在她看来好象是解决了问题。
• Albeit he has failed twice,he is not discouraged.虽然失败了两次，但他并没有气馁。

359 followers   

追随者( follower的名词复数 )； 用户； 契据的附面； 从动件

参考例句：

• the followers of Mahatma Gandhi 圣雄甘地的拥护者
• The reformer soon gathered a band of followers round him. 改革者很快就获得一群追随者支持他。

360 inviolate   

adj.未亵渎的，未受侵犯的

参考例句：

• The constitution proclaims that public property shall be inviolate.宪法宣告公共财产不可侵犯。
• They considered themselves inviolate from attack.他们认为自己是不可侵犯的。

361 irresistible   

adj.非常诱人的，无法拒绝的，无法抗拒的

参考例句：

• The wheel of history rolls forward with an irresistible force.历史车轮滚滚向前，势不可挡。
• She saw an irresistible skirt in the store window.她看见商店的橱窗里有一条叫人着迷的裙子。

362 precept   

n.戒律；格言

参考例句：

• It occurs to me that example is always more efficacious than precept.我想到身教重于言教。
• The son had well profited by the precept and example of the father.老太爷的言传身教早已使他儿子获益无穷。

363 secularization   

n.凡俗化，还俗，把教育从宗教中分离

参考例句：

• But secularization of modernity society made the two prerequisites impossibility. 然而现代社会的世俗化使得这两个前提不复存在。 来自互联网
• So heart will be also inadvertently been secularization of. 以至于心也在不经意间被俗化了。 来自互联网

364 authoritative   

adj.有权威的，可相信的；命令式的；官方的

参考例句：

• David speaks in an authoritative tone.大卫以命令的口吻说话。
• Her smile was warm but authoritative.她的笑容很和蔼，同时又透着威严。

365 derive   

v.取得；导出；引申；来自；源自；出自

参考例句：

• We derive our sustenance from the land.我们从土地获取食物。
• We shall derive much benefit from reading good novels.我们将从优秀小说中获得很大好处。

366 solely   

adv.仅仅，唯一地

参考例句：

• Success should not be measured solely by educational achievement.成功与否不应只用学业成绩来衡量。
• The town depends almost solely on the tourist trade.这座城市几乎完全靠旅游业维持。

367 accretion   

n.自然的增长，增加物

参考例句：

• Every culture is an accretion.每一种文化都是长期积淀的结果。
• An accretion of sediment at the mouth of the river caused serious flooding.河口堆积物的增加导致河水严重泛滥。

368 justification   

n.正当的理由；辩解的理由

参考例句：

• There's no justification for dividing the company into smaller units. 没有理由把公司划分成小单位。
• In the young there is a justification for this feeling. 在年轻人中有这种感觉是有理由的。

369 emblem   

n.象征，标志；徽章

参考例句：

• Her shirt has the company emblem on it.她的衬衫印有公司的标记。
• The eagle was an emblem of strength and courage.鹰是力量和勇气的象征。

370 emblematic   

adj.象征的，可当标志的；象征性

参考例句：

• The violence is emblematic of what is happening in our inner cities. 这种暴力行为正标示了我们市中心贫民区的状况。
• Whiteness is emblematic of purity. 白色是纯洁的象征。 来自辞典例句

371 definitive   

adj.确切的，权威性的；最后的，决定性的

参考例句：

• This book is the definitive guide to world cuisine.这本书是世界美食的权威指南。
• No one has come up with a definitive answer as to why this should be so.至于为什么该这样，还没有人给出明确的答复。

372 symbolic   

adj.象征性的，符号的，象征主义的

参考例句：

• It is symbolic of the fighting spirit of modern womanhood.它象征着现代妇女的战斗精神。
• The Christian ceremony of baptism is a symbolic act.基督教的洗礼仪式是一种象征性的做法。

373 liberates   

解放，释放( liberate的第三人称单数 )

参考例句：

• On the contrary, my caring liberates both of us. 与此相反，我的关心会使我们两个都不受到束缚。
• May cause severe burns. Contact with acids liberates toxic gas. 可导致严重灼伤。与酸接触会释放有毒气体。

374 edifying   

adj.有教训意味的，教训性的，有益的v.开导，启发( edify的现在分词 )

参考例句：

• Young students are advised to read edifying books to improve their mind. 建议青年学生们读一些陶冶性情的书籍，以提高自己的心智。 来自辞典例句
• This edifying spectacle was the final event of the Governor's ball. 这个有启发性的表演便是省长的舞会的最后一个节目了。 来自辞典例句

375 pervasive   

adj.普遍的；遍布的，(到处)弥漫的；渗透性的

参考例句：

• It is the most pervasive compound on earth.它是地球上最普遍的化合物。
• The adverse health effects of car exhaust are pervasive and difficult to measure.汽车尾气对人类健康所构成的有害影响是普遍的，并且难以估算。

376 motive   

n.动机，目的；adv.发动的，运动的

参考例句：

• The police could not find a motive for the murder.警察不能找到谋杀的动机。
• He had some motive in telling this fable.他讲这寓言故事是有用意的。

377 civic   

adj.城市的，都市的，市民的，公民的

参考例句：

• I feel it is my civic duty to vote.我认为投票选举是我作为公民的义务。
• The civic leaders helped to forward the project.市政府领导者协助促进工程的进展。

378 distinctive   

adj.特别的，有特色的，与众不同的

参考例句：

• She has a very distinctive way of walking.她走路的样子与别人很不相同。
• This bird has several distinctive features.这个鸟具有几种突出的特征。

379 rivalry   

n.竞争，竞赛，对抗

参考例句：

• The quarrel originated in rivalry between the two families.这次争吵是两家不和引起的。
• He had a lot of rivalry with his brothers and sisters.他和兄弟姐妹间经常较劲。

380 awe   

n.敬畏，惊惧；vt.使敬畏，使惊惧

参考例句：

• The sight filled us with awe.这景色使我们大为惊叹。
• The approaching tornado struck awe in our hearts.正在逼近的龙卷风使我们惊恐万分。

381 laity   

n.俗人；门外汉

参考例句：

• The Church and the laity were increasingly active in charity work.教会与俗众越来越积极参与慈善工作。
• Clergy and laity alike are divided in their views.神职人员和信众同样都观点各异。

382 clergy   

n.[总称]牧师，神职人员

参考例句：

• I could heartily wish that more of our country clergy would follow this example.我衷心希望，我国有更多的牧师效法这个榜样。
• All the local clergy attended the ceremony.当地所有的牧师出席了仪式。

383 isolated   

adj.与世隔绝的

参考例句：

• His bad behaviour was just an isolated incident. 他的不良行为只是个别事件。
• Patients with the disease should be isolated. 这种病的患者应予以隔离。

384 conformity   

n.一致，遵从，顺从

参考例句：

• Was his action in conformity with the law?他的行动是否合法？
• The plan was made in conformity with his views.计划仍按他的意见制定。

385 exalted   

adj.(地位等)高的，崇高的；尊贵的，高尚的

参考例句：

• Their loveliness and holiness in accordance with their exalted station.他们的美丽和圣洁也与他们的崇高地位相称。
• He received respect because he was a person of exalted rank.他因为是个地位崇高的人而受到尊敬。

386 reverberate   

v.使回响，使反响

参考例句：

• The decision will reverberate and will jar the country.这项决定将引起反响并震撼这个国家。
• Echoes of cries of pain reverberate in my hear.痛苦呼喊的一遍遍的在我的心中回响。

387 symbolized   

v.象征，作为…的象征( symbolize的过去式和过去分词 )

参考例句：

• For Tigress, Joy symbolized the best a woman could expect from life. 在她看，小福子就足代表女人所应有的享受。 来自汉英文学 - 骆驼祥子
• A car symbolized distinction and achievement, and he was proud. 汽车象征着荣誉和成功，所以他很自豪。 来自辞典例句

388 cloistral   

adj.修道院的，隐居的，孤独的

参考例句：

• It was this cloistral hush which gave our laughter its resonance. 是这种幽幽的寂静使我们朗朗的笑声发出回响。 来自辞典例句

389 exultation   

n.狂喜，得意

参考例句：

• It made him catch his breath, it lit his face with exultation. 听了这个名字，他屏住呼吸，乐得脸上放光。
• He could get up no exultation that was really worthy the name. 他一点都激动不起来。

390 yearns   

渴望，切盼，向往( yearn的第三人称单数 )

参考例句：

• Every man yearns for sympathy in sorrow. 每个遇到不幸的人都渴望得到同情。
• What I dread is to get into a rut. One yearns for freshness of thought and ideas. 我害怕的就是墨守成规。人总是向往新思想和新观念的。

391 alleged   

a.被指控的，嫌疑的

参考例句：

• It was alleged that he had taken bribes while in office. 他被指称在任时收受贿赂。
• alleged irregularities in the election campaign 被指称竞选运动中的不正当行为

392 latitude   

n.纬度，行动或言论的自由(范围)，(pl.)地区

参考例句：

• The latitude of the island is 20 degrees south.该岛的纬度是南纬20度。
• The two cities are at approximately the same latitude.这两个城市差不多位于同一纬度上。

393 nuance   

n.(意义、意见、颜色)细微差别

参考例句：

• These users will easily learn each nuance of the applications they use.这些用户会很快了解他们所使用程序的每一细微差别。
• I wish I hadn't become so conscious of every little nuance.我希望我不要变得这样去思索一切琐碎之事。

394 license   

n.执照，许可证，特许；v.许可，特许

参考例句：

• The foreign guest has a license on the person.这个外国客人随身携带执照。
• The driver was arrested for having false license plates on his car.司机由于使用假车牌而被捕。

395 improvised   

a.即席而作的,即兴的

参考例句：

• He improvised a song about the football team's victory. 他即席创作了一首足球队胜利之歌。
• We improvised a tent out of two blankets and some long poles. 我们用两条毛毯和几根长竿搭成一个临时帐蓬。

396 supplanted   

把…排挤掉，取代( supplant的过去式和过去分词 )

参考例句：

• In most offices, the typewriter has now been supplanted by the computer. 当今许多办公室里，打字机已被电脑取代。
• The prime minister was supplanted by his rival. 首相被他的政敌赶下台了。

397 detailed   

adj.详细的，详尽的，极注意细节的，完全的

参考例句：

• He had made a detailed study of the terrain.他对地形作了缜密的研究。
• A detailed list of our publications is available on request.我们的出版物有一份详细的目录备索。

398 mantle   

n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红

参考例句：

• The earth had donned her mantle of brightest green.大地披上了苍翠欲滴的绿色斗篷。
• The mountain was covered with a mantle of snow.山上覆盖着一层雪。

399 scanty   

adj.缺乏的，仅有的，节省的，狭小的，不够的

参考例句：

• There is scanty evidence to support their accusations.他们的指控证据不足。
• The rainfall was rather scanty this month.这个月的雨量不足。

400 embellished   

v.美化( embellish的过去式和过去分词 )；装饰；修饰；润色

参考例句：

• The door of the old church was embellished with decorations. 老教堂的门是用雕饰美化的。 来自《简明英汉词典》
• The stern was embellished with carvings in red and blue. 船尾饰有红色和蓝色的雕刻图案。 来自辞典例句

401 receding   

v.逐渐远离( recede的现在分词 )；向后倾斜；自原处后退或避开别人的注视；尤指问题

参考例句：

• Desperately he struck out after the receding lights of the yacht. 游艇的灯光渐去渐远，他拼命划水追赶。 来自辞典例句
• Sounds produced by vehicles receding from us seem lower-pitched than usual. 渐渐远离我们的运载工具发出的声似乎比平常的音调低。 来自辞典例句

402 stimulating   

adj.有启发性的，能激发人思考的

参考例句：

• shower gel containing plant extracts that have a stimulating effect on the skin 含有对皮肤有益的植物精华的沐浴凝胶
• This is a drug for stimulating nerves. 这是一种兴奋剂。

403 revival   

n.复兴，复苏，（精力、活力等的）重振

参考例句：

• The period saw a great revival in the wine trade.这一时期葡萄酒业出现了很大的复苏。
• He claimed the housing market was showing signs of a revival.他指出房地产市场正出现复苏的迹象。

404 erecting   

v.使直立，竖起( erect的现在分词 )；建立

参考例句：

• Nations can restrict their foreign trade by erecting barriers to exports as well as imports. 象设置进口壁垒那样，各国可以通过设置出口壁垒来限制对外贸易。 来自辞典例句
• Could you tell me the specific lift-slab procedure for erecting buildings? 能否告之用升板法安装楼房的具体程序？ 来自互联网

405 virtuoso   

n.精于某种艺术或乐器的专家，行家里手

参考例句：

• He was gaining a reputation as a remarkable virtuoso.作为一位技艺非凡的大师，他声誉日隆。
• His father was a virtuoso horn player who belonged to the court orchestra.他的父亲是宫廷乐队中一个技巧精湛的圆号演奏家。