The German school entered the seventeenth century with three strong and pregnant forms to its credit, viz., the choral, the motet (essentially a counterpart of the Latin sixteenth-century motet), and organ music. Over against these stood the Italian recitative and aria, associated with new principles of tonality, harmony, and structure. The former were the stern embodiment of the abstract, objective, liturgic conception of worship music; the latter, of the subjective15, impassioned, and individualistic. Should these ideals be kept apart, or should they be in some way united? One group of German musicians would make the Italian dramatic forms the sole basis of a new religious art, recognizing the claims of the personal, the varied16, and the brilliant, in ecclesiastical music as in secular. Another group [270] clung tenaciously17 to the choral and motet, resisting every influence that might soften18 that austere19 rigor3 which to their minds was demanded by historic association and liturgic fitness. A third group was the party of compromise. Basing their culture upon the old German choir20 chorus, organ music, and people’s hymn21-tune, they grafted22 upon this sturdy stock the Italian melody. It was in the hands of this school that the future of German church music lay. They saw that the opportunities for a more varied and characteristic expression could not be kept out of the Church, for they were based on the reasonable cravings of human nature. Neither could they throw away those grand hereditary23 types of devotional utterance24 which had become sanctified to German memory in the period of the Reformation’s storm and stress. They adopted what was soundest and most suitable for these ends in the art of both countries, and built up a form of music which strove to preserve the high traditions of national liturgic song, while at the same time it was competent to gratify the tastes which had been stimulated25 by the recent rapid advance in musical invention. Out of this movement grew the Passion music and the cantata26 of the eighteenth century, embellished27 with all the expressive28 resources of the Italian vocal29 solo and the orchestral accompaniment, solidified30 by a contrapuntal treatment derived31 from organ music, and held unswervingly to the very heart of the liturgy32 by means of those choral tunes33 which had become identified with special days and occasions in the church year.
The nature of the change of motive in modern church music, which broke the exclusive domination of the chorus by the introduction of solo singing, has been set forth34 in the chapter on the later mass. The most obvious fact in the history of this modification35 of church music in Germany is that the neglect in many quarters of the strong old music of choral and motet in favor of a showy concert style seemed to coincide with that melancholy36 lapse37 into formalism and dogmatic intolerance which, in the German Church of the seventeenth and eighteenth centuries, succeeded to the enthusiasms of the Reformation era. But it does not follow, as often assumed, that we have here a case of cause and effect. It is worth frequent reiteration38 that no style of music is in itself religious. There is no sacredness, says Ruskin, in round arches or in pointed39, in pinnacles40 or buttresses41; and we may say with equal pertinence42 that there is nothing sacred per se in sixteenth-century counterpoint, Lutheran choral, or Calvinist psalm-tune. The adoption43 of the new style by so many German congregations was certainly not due to a spirit of levity44, but to the belief that the novel sensation which their aesthetic45 instincts craved46 was also an element in moral edification. From the point of view of our more mature experience, however, there was doubtless a deprivation47 of something very precious when the German people began to lose their love for the solemn patriotic48 hymns49 of their faith, and when choirs50 neglected those celestial51 harmonies with which men like Eccard and Hasler lent these melodies the added charm of artistic52 decoration. There would seem to be no real compensation in those buoyant songs, with their thin accompaniment, which [272] Italy offered as a substitute for a style grown cold and obsolete53. But out of this decadence54, if we call it such, came the cantatas55 and Passions of J. S. Bach, in which a reflective age like ours, trained to settle points of fitness in matters of art, finds the most heart-searching and heart-revealing strains that devotional feeling has ever inspired. These glorious works could never have existed if the Church had not sanctioned the new methods in music which Germany was so gladly receiving from Italy. Constructed to a large extent out of secular material, these works grew to full stature56 under liturgic auspices57, and at last, transcending58 the boundaries of ritual, they became a connecting bond between the organized life of the Church and the larger religious intuitions which no ecclesiastical system has ever been able to monopolize59.
Such was the gift to the world of German Protestantism, stimulated by those later impulses of the Renaissance60 movement which went forth in music after their mission had been accomplished61 in plastic art. In the Middle Age, we are told, religion and art lived together in brotherly union; Protestantism threw away art and kept religion, Renaissance rationalism threw away religion and retained art. In painting and sculpture this is very nearly the truth; in music it is very far from being true. It is the glory of the art of music, that she has almost always been able to resist the drift toward sensuousness62 and levity, and where she has apparently63 yielded, her recovery has been speedy and sure. So susceptible64 is her very nature to the finest touches of religious feeling, that every revival65 of the pure spirit of devotion has always found her prepared to adapt herself to new spiritual demands, and out of apparent decline to develop forms of religious expression more beautiful and sublime66 even than the old.
[273]
Conspicuous67 among the forms with which the new movement endowed the German Church was the cantata. This form of music may be traced back to Italy, where the monodic style first employed in the opera about 1600 was soon adopted into the music of the salon68. The cantata was at first a musical recitation by a single person, without action, accompanied by a few plain chords struck upon a single instrument. This simple design was expanded in the first half of the seventeenth century into a work in several movements and in many parts or voices. Religious texts were soon employed and the church cantata was born. The cantata was eagerly taken up by the musicians of the German Protestant Church and became a prominent feature in the regular order of worship. In the seventeenth century the German Church cantata consisted usually of an instrumental introduction, a chorus singing a Bible text, a “spiritual aria” (a strophe song, sometimes for one, sometimes for a number of voices), one or two vocal solos, and a choral. This immature69 form (known as “spiritual concerto,” “spiritual dialogue” or “spiritual act of devotion”), consisting of an alternation of Biblical passages and church or devotional hymns, flourished greatly in the seventeenth and early part of the eighteenth centuries. In its complete development in the eighteenth century it also incorporated the recitative and the Italian aria form, and carried to [274] their full power the chorus, especially the chorus based on the choral melody, and the organ accompaniment. By means of the prominent employment of themes taken from choral tunes appointed for particular days in the church calendar, especially those days consecrated70 to the contemplation of events in the life of our Lord, the cantata became the most effective medium for the expression of those emotions called forth in the congregation by their imagined participation71 in the scenes which the ritual commemorated72. The stanzas73 of the hymns which appear in the cantata illustrate74 the Biblical texts, applying and commenting upon them in the light of Protestant conceptions. The words refer to some single phase of religious feeling made conspicuous in the order for the clay. A cantata is, therefore, quite analogous75 to the anthem76 of the Church of England, although on a larger scale. Unlike an oratorio77, it is neither epic78 nor dramatic, but renders some mood, more or less general, of prayer or praise.
We have seen that the Lutheran Church borrowed many features from the musical practice of the Catholic Church, such as portions of the Mass, the habit of chanting, and ancient hymns and tunes. Another inheritance was the custom of singing the story of Christ’s Passion, with musical additions, in Holy Week. This usage, which may be traced back to a remote period in the Middle Age, must be distinguished79 from the method, prevalent as early as the thirteenth century, of actually representing the events of Christ’s last days in visible action upon the stage. The Passion play, which still survives in Oberammergau in Bavaria, and in other more [275] obscure parts of Europe, was one of a great number of ecclesiastical dramas, classed as Miracle Plays, Mysteries, and Moralities, which were performed under the auspices of the Church for the purpose of impressing the people in the most vivid way with the reality of the Old and New Testament80 stories, and the binding81 force of doctrines82 and moral principles.
The observance out of which the German Passion music of the eighteenth century grew was an altogether different affair. It consisted of the mere83 recitation, without histrionic accessories, of the story of the trial and death of Christ, as narrated84 by one of the four evangelists, beginning in the synoptic Gospels with the plot of the priests and scribes, and in St. John’s Gospel with the betrayal. This narration85 formed a part of the liturgic office proper to Palm Sunday, Holy Tuesday, Ash Wednesday, and Good Friday. According to the primitive86 use, which originated in the period of the supremacy87 of the Gregorian chant, several officers took part in the delivery. One cleric intoned the evangelist’s narrative88, another the words of Christ, and a third those of Pilate, Peter, and other single personages. The ejaculations of the Jewish priests, disciples89, and mob were chanted by a small group of ministers. The text was rendered in the simpler syllabic form of the Plain Song. Only in one passage did this monotonous90 recitation give way to a more varied, song-like utterance, viz., in the cry of Christ upon the cross, “Eli, Eli, lama sabachthani,” this phrase being delivered in an extended, solemn, but unrhythmical melody, to which was imparted all the pathos92 that the singer could command. The chorus parts were at first sung in unison93, then, as the art of part-writing developed, they were set in simple four-part counterpoint.
[276]
Under the influence of the perfected contrapuntal art of the sixteenth century there appeared a form now known as the motet Passion, and for a short time it flourished vigorously. In this style everything was sung in chorus without accompaniment—evangelist’s narrative, words of Christ, Pilate, and all. The large opportunities for musical effect permitted by this manner of treatment gained for it great esteem94 among musicians, for since this purely musical method of repeating the story of Christ’s death was never conceived as in any sense dramatic, there was nothing inconsistent in setting the words of a single personage in several parts. The life enjoyed by this phase of Passion music was brief, for it arose only a short time before the musical revolution, heralded95 by the Florentine monody and confirmed by the opera, drove the mediaeval polyphony into seclusion96.
With the quickly won supremacy of the dramatic and concert solo, together with the radical97 changes of taste and practice which it signified, the chanted Passion and the motet Passion were faced by a rival which was destined98 to attain99 such dimensions in Germany that it occupied the whole field devoted100 to this form of art. In the oratorio Passion, as it may be called, the Italian recitative and aria and the sectional rhythmic91 chorus took the place of the unison chant and the ancient polyphony; hymns and poetic101 monologues102 supplemented and sometimes supplanted103 the Bible text; and the impassioned [277] vocal style, introducing the new principle of definite expression of the words, was reinforced by the lately emancipated104 art of instrumental music. For a time, these three forms of Passion music existed side by side, the latest in an immature state; but the stars in the firmament105 of modern music were fighting in their courses for the mixed oratorio style, and in the early part of the eighteenth century this latter form attained106 completion and stood forth as the most imposing107 gift bestowed108 by Germany upon the world of ecclesiastical art.
The path which German religious music was destined to follow in the seventeenth and eighteenth centuries, under the guidance of the new ideas of expression, was plainly indicated when Heinrich Schütz, the greatest German composer of the seventeenth century, and the worthy109 forerunner110 of Bach and H?ndel, wrote his “histories” and “sacred symphonies.” Born in 1585, he came under the inspiring instruction of G. Gabrieli in Venice in 1609, and on a second visit to Italy in 1628 he became still more imbued111 with the dominant112 tendencies of the age. He was appointed chapel-master at the court of the Elector of Saxony at Dresden in 1615, and held this position, with a few brief interruptions, until his death in 1672. He was a musician of the most solid attainments113, and although living in a transition period in the history of music, he was cautious and respectful in his attitude toward both the methods which were at that time in conflict, accepting the new discoveries in dramatic expression as supplementary114, not antagonistic115, to the old ideal of devotional music. In his psalms116 he employed contrasting and combining choral [278] masses, reinforced by a band of instruments. In the Symphoniae sacrae are songs for one or more solo voices, with instrumental obligato, in which the declamatory recitative style is employed with varied and appropriate effect. In his dramatic religious works, the “Resurrection,” the “Seven Words of the Redeemer upon the Cross,” the “Conversion of Saul,” and the Passions after the four evangelists, Schütz uses the vocal solo, the instrumental accompaniment, and the dramatic chorus in a tentative manner, attaining117 at times striking effects of definite expression quite in accordance with modern ideas, while anon he falls back upon the strict impersonal118 method identified with the ancient Plain Song and sixteenth-century motet. Most advanced in style and rich in expression is the “Seven Words.” A feature characteristic of the rising school of German Passion music is the imagined presence of Christian119 believers, giving utterance in chorus to the emotions aroused by the contemplation of the atoning120 act. In the “Seven Words” the utterances121 of Jesus and the other separate personages are given in arioso recitative, rising at times to pronounced melody. The tone of the whole work is fervent122, elevated, and churchly. The evangelist and all the persons except Christ sing to an organ bass,—the words of the Saviour123 are accompanied by the ethereal tones of stringed instruments, perhaps intended as an emblematic124 equivalent to the aureole in religious paintings. In Schütz’s settings of the Passion, although they belong to the later years of his life, he returns to the primitive form, in which the parts of the evangelist and the single characters are rendered in the severe “collect [279] tone” of the ancient Plain Song, making no attempt at exact expression of changing sentiments. Even in these restrained and lofty works, however, his genius as a composer and his progressive sympathies as a modern artist occasionally break forth in vivid expression given to the ejaculations of priests, disciples, and Jewish mob, attaining a quite remarkable warmth and reality of portrayal125. Nevertheless, these isolated126 attempts at naturalism hardly bring the Passions of Schütz into the category of modern works. There is no instrumental accompaniment, and, most decisive of all, they are restrained within the limits of the mediaeval conception by the ancient Gregorian tonality, which is maintained throughout almost to the entire exclusion127 of chromatic128 alteration129.
The works of Schütz, therefore, in spite of their sweetness and dignity and an occasional glimpse of picturesque130 detail, are not to be considered as steps in the direct line of progress which led from the early Italian cantata and oratorio to the final achievements of Bach and H?ndel. These two giants of the culminating period apparently owed nothing to Schütz. It is not probable that they had any acquaintance with his works at all. The methods and the ideals of these three were altogether different. Considering how common and apparently necessary in art is the reciprocal influence of great men, it is remarkable that in the instance of the greatest German musician of the seventeenth century and the two greatest of the eighteenth, all working in the field of religious dramatic music, not one was affected131 in the slightest degree by the labors132 of either of the others. Here we have the individualism of modern art exhibited in the most positive degree upon its very threshold.
[280]
In the Passions of Schütz we find only the characters of the Bible story, together with the evangelist’s narrative taken literally133 from the Gospel,—that is to say, the original frame-work of the Passion music with the chorus element elaborated. In the latter part of the seventeenth century the dramatic scheme of the Passion was enlarged by the addition of the Christian congregation, singing appropriate chorals, and the ideal company of believers, expressing suitable sentiments in recitatives, arias134, and choruses. The insertion of church hymns was of the highest importance in view of the relation of the Passion music to the liturgy, for the more stress was laid upon this feature, the more the Passion, in spite of its semi-dramatic character, became fitted as a constituent135 into the order of service. The choral played here the same part as in the cantata, assimilating to the prescribed order of worship what would otherwise be an extraneous136 if not a disturbing feature. This was especially the case when, as in the beginning of the adoption of the choral in the Passion, the hymn verses were sung by the congregation itself. In Bach’s time this custom had fallen into abeyance137, and the choral stanzas were sung by the choir; but this change involved no alteration in the form or the conception of the Passion performance as a liturgic act.
[281]
The growth of the Passion music from Schütz to its final beauty and pathos under Sebastian Bach was by no means constant. In certain quarters, particularly at Hamburg, the aria in the shallow Italian form took an utterly138 disproportionate importance. The opera, which was flourishing brilliantly at Hamburg about 1700, exercised a perverting139 influence upon the Passion to such an extent that the ancient liturgic traditions were completely abandoned. In many of the Hamburg Passions the Bible text was thrown away and poems substituted, all of which were of inferior literary merit, and some quite contemptible140. Incredible as it may seem, the comic element was sometimes introduced, the “humorous” characters being the servant Malthus whose ear was cut off by Peter, and a clownish peddler of ointment141. It must be said that these productions were not given in the churches; they are not to be included in the same category with the strictly142 liturgic Passions of Sebastian Bach. The comparative neglect of the choral and also of the organ removes them altogether from the proper history of German church music.
Thus we see how the new musical forms, almost creating the emotions which they were so well adapted to express, penetrated143 to the very inner shrine144 of German church music. In some sections, as at Hamburg, the Italian culture supplanted the older school altogether. In others it encountered sterner resistance, and could do no more than form an alliance, in which old German rigor and reserve became somewhat ameliorated and relaxed without becoming perverted145. To produce an art work of the highest order out of this union of contrasting principles, a genius was needed who should possess so true an insight into the special [282] capabilities146 of each that he should be able by their amalgamation147 to create a form of religious music that should be conformed to the purest conception of the mission of church song, and at the same time endowed with those faculties148 for moving the affections which were demanded by the tastes of the new age. In fulness of time this genius appeared. His name was Johann Sebastian Bach.
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1
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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transformation
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| n.变化；改造；转变 | |
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rigor
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| n.严酷，严格，严厉 | |
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purely
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| adv.纯粹地，完全地 | |
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secular
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| n.牧师，凡人；adj.世俗的，现世的，不朽的 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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landmarks
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| n.陆标( landmark的名词复数 )；目标；（标志重要阶段的）里程碑 ~ (in sth)；有历史意义的建筑物（或遗址） | |
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8
obliterated
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| v.除去( obliterate的过去式和过去分词 )；涂去；擦掉；彻底破坏或毁灭 | |
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evolutionary
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| adj.进化的；演化的，演变的；[生]进化论的 | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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aria
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| n.独唱曲，咏叹调 | |
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languishing
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| a. 衰弱下去的 | |
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reverence
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| 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 | |
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alluring
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| adj.吸引人的，迷人的 | |
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subjective
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| a.主观(上)的，个人的 | |
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varied
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| adj.多样的，多变化的 | |
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tenaciously
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| 坚持地 | |
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soften
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| v.(使)变柔软；(使)变柔和 | |
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austere
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| adj.艰苦的；朴素的，朴实无华的；严峻的 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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hymn
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| n.赞美诗，圣歌，颂歌 | |
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grafted
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| 移植( graft的过去式和过去分词 )； 嫁接； 使（思想、制度等）成为（…的一部份）； 植根 | |
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hereditary
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| adj.遗传的，遗传性的，可继承的，世袭的 | |
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utterance
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| n.用言语表达，话语，言语 | |
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stimulated
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| a.刺激的 | |
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cantata
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| n.清唱剧，大合唱 | |
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embellished
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| v.美化( embellish的过去式和过去分词 )；装饰；修饰；润色 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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solidified
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| （使）成为固体，（使）变硬，（使）变得坚固( solidify的过去式和过去分词 )； 使团结一致； 充实，巩固； 具体化 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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liturgy
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| n.礼拜仪式 | |
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tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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forth
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| adv.向前；向外，往外 | |
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modification
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| n.修改，改进，缓和，减轻 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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lapse
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| n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效 | |
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reiteration
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| n. 重覆, 反覆, 重说 | |
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pointed
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| adj.尖的，直截了当的 | |
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pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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buttresses
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| n.扶壁，扶垛( buttress的名词复数 )v.用扶壁支撑，加固( buttress的第三人称单数 ) | |
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pertinence
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| n.中肯 | |
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adoption
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| n.采用，采纳，通过；收养 | |
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levity
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| n.轻率，轻浮，不稳定，多变 | |
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aesthetic
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| adj.美学的，审美的，有美感 | |
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craved
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| 渴望，热望( crave的过去式 )； 恳求，请求 | |
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deprivation
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| n.匮乏；丧失；夺去，贫困 | |
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patriotic
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| adj.爱国的，有爱国心的 | |
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hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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choirs
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| 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 | |
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51
celestial
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| adj.天体的；天上的 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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obsolete
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| adj.已废弃的，过时的 | |
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decadence
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| n.衰落，颓废 | |
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cantatas
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| n.大合唱( cantata的名词复数 )；清唱剧 | |
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stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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57
auspices
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| n.资助，赞助 | |
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58
transcending
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| 超出或超越（经验、信念、描写能力等）的范围( transcend的现在分词 )； 优于或胜过… | |
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59
monopolize
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| v.垄断，独占，专营 | |
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60
renaissance
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| n.复活，复兴，文艺复兴 | |
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61
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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62
sensuousness
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| n.知觉 | |
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63
apparently
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| adv.显然地；表面上，似乎 | |
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64
susceptible
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| adj.过敏的，敏感的；易动感情的，易受感动的 | |
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65
revival
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| n.复兴，复苏，（精力、活力等的）重振 | |
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66
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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67
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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68
salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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69
immature
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| adj.未成熟的，发育未全的，未充分发展的 | |
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consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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71
participation
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| n.参与，参加，分享 | |
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72
commemorated
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| v.纪念，庆祝( commemorate的过去式和过去分词 ) | |
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73
stanzas
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| 节，段( stanza的名词复数 ) | |
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74
illustrate
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| v.举例说明，阐明；图解，加插图 | |
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75
analogous
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| adj.相似的；类似的 | |
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76
anthem
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| n.圣歌，赞美诗，颂歌 | |
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77
oratorio
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| n.神剧，宗教剧，清唱剧 | |
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78
epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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79
distinguished
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| adj.卓越的，杰出的，著名的 | |
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80
testament
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| n.遗嘱；证明 | |
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81
binding
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| 有约束力的，有效的，应遵守的 | |
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82
doctrines
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| n.教条( doctrine的名词复数 )；教义；学说；（政府政策的）正式声明 | |
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83
mere
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| adj.纯粹的；仅仅，只不过 | |
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84
narrated
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| v.故事( narrate的过去式和过去分词 ) | |
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85
narration
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| n.讲述，叙述；故事；记叙体 | |
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86
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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87
supremacy
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| n.至上；至高权力 | |
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88
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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89
disciples
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| n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一 | |
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90
monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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rhythmic
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| adj.有节奏的，有韵律的 | |
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92
pathos
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| n.哀婉，悲怆 | |
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unison
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| n.步调一致，行动一致 | |
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esteem
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| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
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heralded
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| v.预示( herald的过去式和过去分词 )；宣布（好或重要） | |
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seclusion
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| n.隐遁，隔离 | |
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radical
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| n.激进份子，原子团，根号；adj.根本的，激进的，彻底的 | |
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98
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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99
attain
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| vt.达到，获得，完成 | |
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100
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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101
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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102
monologues
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| n.（戏剧）长篇独白( monologue的名词复数 )；滔滔不绝的讲话；独角戏 | |
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103
supplanted
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| 把…排挤掉，取代( supplant的过去式和过去分词 ) | |
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104
emancipated
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| adj.被解放的，不受约束的v.解放某人（尤指摆脱政治、法律或社会的束缚）( emancipate的过去式和过去分词 ) | |
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105
firmament
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| n.苍穹；最高层 | |
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106
attained
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| （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） | |
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107
imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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108
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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109
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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110
forerunner
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| n.前身，先驱（者），预兆，祖先 | |
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111
imbued
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| v.使（某人/某事）充满或激起（感情等）( imbue的过去式和过去分词 )；使充满；灌输；激发（强烈感情或品质等） | |
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112
dominant
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| 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 | |
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113
attainments
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| 成就，造诣； 获得( attainment的名词复数 )； 达到； 造诣； 成就 | |
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114
supplementary
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| adj.补充的，附加的 | |
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115
antagonistic
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| adj.敌对的 | |
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116
psalms
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| n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的) | |
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117
attaining
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| （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） | |
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118
impersonal
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| adj.无个人感情的，与个人无关的，非人称的 | |
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119
Christian
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| adj.基督教徒的；n.基督教徒 | |
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120
atoning
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| v.补偿，赎（罪）( atone的现在分词 )；补偿，弥补，赎回 | |
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121
utterances
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| n.发声( utterance的名词复数 )；说话方式；语调；言论 | |
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122
fervent
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| adj.热的，热烈的，热情的 | |
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123
saviour
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| n.拯救者，救星 | |
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124
emblematic
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| adj.象征的，可当标志的；象征性 | |
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125
portrayal
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| n.饰演；描画 | |
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126
isolated
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| adj.与世隔绝的 | |
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127
exclusion
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| n.拒绝，排除，排斥，远足，远途旅行 | |
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128
chromatic
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| adj.色彩的，颜色的 | |
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129
alteration
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| n.变更，改变；蚀变 | |
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130
picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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affected
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| adj.不自然的，假装的 | |
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132
labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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133
literally
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| adv.照字面意义，逐字地；确实 | |
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134
arias
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| n.咏叹调( aria的名词复数 ) | |
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135
constituent
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| n.选民；成分，组分；adj.组成的，构成的 | |
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136
extraneous
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| adj.体外的；外来的；外部的 | |
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137
abeyance
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| n.搁置，缓办，中止，产权未定 | |
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138
utterly
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| adv.完全地，绝对地 | |
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139
perverting
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| v.滥用( pervert的现在分词 )；腐蚀；败坏；使堕落 | |
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140
contemptible
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| adj.可鄙的，可轻视的，卑劣的 | |
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141
ointment
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| n.药膏，油膏，软膏 | |
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142
strictly
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| adv.严厉地，严格地；严密地 | |
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143
penetrated
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| adj. 击穿的，鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
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144
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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145
perverted
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| adj.不正当的v.滥用( pervert的过去式和过去分词 )；腐蚀；败坏；使堕落 | |
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146
capabilities
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| n.能力( capability的名词复数 )；可能；容量；[复数]潜在能力 | |
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147
amalgamation
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| n.合并，重组；；汞齐化 | |
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148
faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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