No—I remember but little of it, but I have lived it all over again every time I have heard the dramatic strains of Schubert's Erl-king. Great artists, gifted with the power of song, have depicted10 the whole scene to me in thrilling accents; dear old Rubinstein, the friend, alas11, I lost all too soon—grand old Rubinstein, the master whose magic touch swept the keyboard as the hurricane sweeps the plain—could conjure13 up visions of a misty14 past in my mind. "My father, my father," I could have cried, as the Erl-king of Pianists pursued the doomed15 child with his giant strides and unrelenting touch, alternately letting loose the elements to rage in maddening tumult16, and drawing uncanny whispers from his weird17 instrument.
Whatever I may have been prompted to cry when under the spell of Rubinstein's art, I do not think I invoked19 my father's aid on that night upon the heath; it was more likely "My mother, my mother," I called, and she just protected me, and so, fortunately for me, it all ended happily, and: "In her arms the child was not dead," but cried itself to sleep, and was put back into the little hammock that was slung20 across from side to side of our old-fashioned vehicle, and that temporarily replaced my cradle in 3 Chester Place, Regent's Park, London, the house I was born in.
My father was on a concert tour in Germany, reaping laurels21 and golden harvests, such as were rarely heard of in those days. From his wife he never parted if he could help it, even for a short time, and by way of an encumbrance22 he had on this occasion taken, besides the necessary luggage, us children—I think there were three of us then—and a little dumb keyboard on which he used to exercise his fingers to keep them up to concert pitch when pianos were out of reach. I hadn't seen any of those little finger-trainers for years, when I came across one on Robert Browning's writing-table; he always kept it by his side, and I wondered whether he used it to stimulate23 the fingers that had to keep pace with the poet's ever-flowing thoughts. But my earliest recollections are connected, not with dumb keyboards, but with very full-sounding and eloquent25 ones. My father was ever happiest when at the piano or composing. He was interested, oh yes, much interested in the sister arts, in science and politics, but he had a way of disappearing after a while when such matters were being discussed, or of getting lost when we had set out conscientiously26 to do museums or churches in Venice or Antwerp, or to visit crypts, shrines27, bones of ancestors, and other historical relics29 above and below ground. We knew we should find him at home at the piano, or pen in hand composing, that is, if he had not perchance been stopped on the way by the sounds of music in some attractive shape. It was quite enough for him to hear such sounds proceeding31 from an open window, to make for the door, ring the bell, and ask for the "Maestro" or the "Herr Kapellmeister." He would introduce himself, and presently be making friends on a sound musical basis with his colleague. It would sometimes lead to a continental33 hug of the warmest description, when the surprised native would discover that his visitor was the pianist.
Sometimes my father did not wait for that finishing touch, as when on one occasion he invaded the room of an ill-fated lover of music. It was at Tetschen, on a journey through Saxony and Bohemia; we arrived one evening at the little hotel of that place, tired and hungry, and thinking only of supper and a good night's rest. Scarcely had we settled down to the former, when, separated from us only by a wooden partition, a neighbour commenced operations on the piano, slowly and carefully unwinding one bar after the other of that most brilliant of pieces, Weber's "Invitation à la Valse." "Dass dich das M?userle beisse!" exclaims my father, in terrible earnest. "May the little mouse bite you!" That was a favourite expression of his, when he found himself suddenly impelled34 to denounce somebody or something, and, as he accentuated35 it, it always seemed amply to replace those naughty words which are not admissible in daily life, and may only be used—and that, to be sure, for our benefit—on Sundays by the exponents37 of the Christian38 dogma.
The servant-girl was summoned, and she explained that the neighbour usually began at that time, and was in the habit of playing several hours. "Dass dich das M?userle" muttered my father with suppressed rage; "Dass dich" ... and with that he rushed out of the room. What would happen? We were about to tremble, when a meek39, respectful knock at the neighbour's door happily reassured40 us. "Herein"—Come in. Enter my father suavely41 apologising for the interruption—we hear it all through the thin partition. He, too, is a lover of music; may he as such be allowed to listen for a while. Much pleased, the other offers him a chair and resumes his performance; my father listens patiently, and waits till the last bars are reached. "Delightful42!" we hear him say, "a beautiful piece, is it not? I once learnt it too; may I try your piano?" And with that he pounces43 on the shaky old instrument, galvanising it into new life, as he starts off at a furious rate, and gives vent9 to his pent-up feelings in cascades45 of octaves and breakneck passages; never had he played that most brilliant of pieces more brilliantly. "Good-night," he said as he struck the last chord; "allow me once more to apologise." "Ach! thus I shall never be able to play it," answered the neighbour with a deep sigh, and he closed the piano, and spent the rest of the evening a sadder but a quieter man.
But it was not often my father was allowed an opportunity of watching over his own comforts. That was a duty my mother would not willingly share with him or with anybody else; quite apart from the affection she lavished47 on the husband, there was the tribute of respect she paid to the artist. His was a privileged position, she held, and his path should be kept clear of all annoyance49. Petty troubles, at any rate, should not approach him, nor the serious ones either if it was within her power to shield him from them; if not, she would contrive50 to take the larger share of the burden upon herself.
From our earliest days, we children were trained to be on our best behaviour when our father came home, whatever our next best might have been previously51. We were mostly happy little listeners when he was at the piano, and if he stopped too long for our juvenile52 faculties53 of enjoyment54, why, our happiness gradually took the shape of respect for the musical function. It even turned into something akin32 to awe55 when he was composing. At such times I would not have whistled within his hearing to save my life. A wholesome56 fear of the M?userles that would assuredly sweep down upon me, if I disturbed the peace, would, I daresay, in a great measure account for my praiseworthy attitude, but, apart from any such practical considerations, it was the mystery connected with the evolution of the beautiful in art, which, from the first, held me in subjection.
The whooping-cough with which one of us children started, rapidly communicating it to the others, was also regulated in its outbursts with due regard to my father's peace. Whilst the fit was on us, it was a source of particular enjoyment to my sisters and myself, but we never freely indulged in it when my father was near. At other times we would come together, and wait for one another till the spirit moved us to whoop58. Then I would wield59 the baton60 in imitation of my betters at the conductor's desk, and we would have our solos and ensemble-pieces, our ritardandos and prestissimos, producing unexpected effects, and with the limited means at our disposal, making what I recollect24 as a very attractive and interesting performance. Edifying61 as it should have been to a parent, my mother could at first not see it in that light, but she had finally to give in, and to acknowledge that it was a bad cough that whooped62 no good.
I was an only son—an elder brother died some years before I was born—and it was but natural that my mother should look with indulgence on my delinquencies. I must sometimes have tried her and those around me sorely, as, for instance, when I hanged my little sister's favourite doll Anna Maria, from a knob of the chest of drawers, there to remain until she be dead.
Clara—that was my sister's name—was of a warm temperament63, and fought for the release of her wax baby with all the passionate64 energy of the maternal65 instinct. I had to give way and cut down the victim, and then, all other means to pacify66 her having failed, I appealed to her imagination, and persuaded her to play at my having killed her in the battle we had just fought; it would be such a surprise for mamma. Ever sharp and quick as she was, she at once saw the far-reaching possibilities of my scheme, and allowed herself to be wrapped up in a bedsheet, as in a shroud67, and to be laid out stiff and rigid68 as a corpse69. I pulled down the blinds and shut the shutters70; then I lit a candle which I placed by her side; when all was ready, I hid in a cupboard and set up a dismal71 wail72 that soon brought my mother to the spot. The effect upon her was all I could have desired, perhaps more so, for the first surprise once over, she expressed her disapproval73 of my conduct in terms suitable to the occasion, and thus quite spoilt the pleasure I had taken in the whole thing.
My mother was a remarkable74 woman,—a "lovely" woman, to use the word as the Americans do when they want a single epithet75 to describe alike the beauty of the body and the beauty of the soul, a word that shall tell of the brightness of the intellect and suggest the qualities of the heart.
There are those who think that when it comes to the selection of epithets76 applicable to a mother, however distinguished77 or worthy57 she may have been, the son is not the person to entrust78 with that selection. Perhaps they are right, and if in this case they care to do so, they must look round for corroborative79 evidence in her books. It is just their fault if they have never read them, or if they have never heard of her as Felix Mendelssohn's grandmother, a character in which she appeared with great advantage to the grandson when she was twenty-four, and he as a young man of nineteen paid his first visit to England. And it is just their loss if they never saw the jet-black plaits as she wore them coiled around her head when she was young, or the mass of silky, snow-white hair of her later days that, when set free, would cascade46 over and far below the shoulders that bore the weight of fourscore years. On her face Time had left its mark. Every line, every wrinkle gave character and expression to her features, and bore testimony80 to the truly beautiful life she had led. The picture reproduced on the first page of these reminiscences I painted when she was in her 83rd year.
But the story of my mother's life must be written in another volume. For the present I return to earlier recollections.
When I was ten years old, I was dubbed81 a big boy, too big to be tied to his mother's apron-strings, and I was sent to King's College to rough it with other boys. Opportunities were not wanting for the roughing it. On one occasion a boy called me a German sausage, and I retorted by punching his head; and on another I met a University College boy, called him a stinkermalee, and got my head punched in return. What the appellation82 precisely83 meant, I didn't know, nor do I now, but it was then the particular term, opprobrious84 and insulting, we King's College boys had adopted to express our unbounded contempt for the hated rivals in Gower Street.
I was generally allowed to walk to school and back by myself, for it formed part of the scheme of education mapped out for me by my parents, that I should start fair and see life for myself. My way lay through St. Giles's and the Seven Dials, and there I did see life and did hear English too, English as she was spoke85 in those parts, perhaps as she is to this day; but as I pass that way now, I don't come across it; the hand of Time has been moving across the Seven Dials, and all the old landmarks86 are gone. Where in these degenerate87 times can a schoolboy hope to see a bear, a real big brown bear, in a cage just in front of a barber's shop? only a penny-shave place to be sure, but bold in its advertisement, a notice in sprawling88 big characters proclaiming the superiority of the establishment's bear's grease over any other grease, whatever its kind might be. Where is the schoolboy to-day who can realise the pleasurable excitement of approaching such a caged bear in a public thoroughfare close enough to test the beast's good nature under circumstances of provocation89, and his own adroitness90 in making good his retreat in case of retaliation91?
In the streets and alleys92 of St. Giles's I was first initiated93 into the horrors of warfare94, especially into the kind of warfare considered quite legitimate96 in those days. A quarrel first;—passions roused—words leading to blows. Coats off, fists clenched97, and there, whilst two savages98 were trying the issue as to which could knock the other into a jelly, or, if luck would have it, into a coffin99, we, the enlightened public, formed a ring and stood round, nominally100 to see fair-play, but virtually to back one or the other of the combatants, goading101 both on to fight like devils, and finally rejoicing over the survival of the fittest.
That kind of thing has been stopped in St. Giles's, but the devil doesn't mind; there is so much legitimate warfare, slaughter102 and massacre103 nowadays on a larger scale, that he is said to admit himself that he gets over and above the share he originally claimed; and as for the ring, why, that has grown apace; thanks to scientific progress, it is iron-bound now with telegraphic wires, and is known by the euphonious105 name of "the Concert of Europe."
How good man is, and how tender in his concern for his brother! More than once I saw him pick up the battered106 jelly and carry it with fraternal solicitude107 to the neighbouring chemist. How good we all are, stitching at Red Cross badges, chartering ambulances, and sending the hat round at the Mansion108 House and elsewhere to save the surviving fittest from starvation!
The question of woman's rights—and wrongs—was also occasionally raised and illustrated109 for my benefit in one or the other of the Seven Dials, the object lesson sometimes delaying me and getting me into trouble for being late at the hic-h?c-hoc business in the Strand110. I particularly recollect a female fiend rushing after her wretched husband, who fled down the street from her, and from the blood-stained poker111 she savagely112 brandished113.
But there were quieter corners too, not far from the lairs114 of the vicious, a dear old printshop for one, just by St. Giles' Church. The most tempting115 pictures were displayed in the windows: coloured prints of stage-coaches, cockatoos, prize-fighters, and racehorses; lovely female types, as originally published in Heath's Book of Beauty; there were fashion-plates next to Bartolozzi's, not in fashion, and I daresay many an undiscovered treasure besides. I used to spend my pennies on views of London, little steel-plate engravings, printed on a sort of shiny cardboard. Was it my innate116 love for London that made them so attractive, or my equally innate love of architecture? Probably both. I always was, and am still a cockney at heart, and as for the building craze, that has been on me from that day to this. Certainly no boy ever had such a collection of bricks as I had, and such a table to build on, specially95 constructed with drawers and divisions for all sizes and forms of my materials.
"I'm going to be an architect," I informed the old Duke of Cambridge on a gala occasion when he rode up to our house. "Right you are, my boy," said the Duke. "You'll be too late to build me a house, but you can build me a mausoleum." I've been planning mausoleums ever since, but unfortunately, not being an architect, I never have had a commission in that line. The Duke, who was an enthusiastic lover of music, had come on that occasion specially interested to hear Bach's Concerto117 in G minor118, which my father played from a copy of the original manuscript he had received from his friend Professor Fischhof, of Vienna.
But to return from Royalty119 to the plebeian120 quarter of St. Giles, I must state that whatever of my pocket-money may have been invested in views of London, it was not that printshop, but the Lowther Arcade121, which usually wrecked123 my finances. I could not resist the temptation which that short cut from the Strand to Catherine Street offered; my money went to the purchase of most fascinating articles, unfortunately at best of a twopenny-halfpenny character, things of beauty irresistibly124 suggesting themselves as presents for my sisters, things no girl should be without, wax angels under glass globes, bottle imps125, china shepherdesses, or jumping frogs, the latter to be sprung upon the recipient126 unexpectedly. I brought them home and confided127 to my mother what bargains I had got. Unhappily the angels, frogs, imps, and the rest, however effective at first, were not long lived, or they proved themselves otherwise disappointing; so they were soon forgotten. Not so their cost.
My mother had carefully kept account of my wasteful128 expenditure129 for some weeks, and one day she confronted me with the sum total it had reached. It actually came within measurable distance of half-a-crown, an amount I had as yet never been able to call my own. I was overwhelmed by such proofs of my recklessness, and henceforth resisted the wiles131 of the Lowther Arcade. So the lesson was not lost on me; it sank deep into my heart, whence I have on more than one occasion been able to bring it to the surface. But I am bound to confess that I never was radically132 cured. I have periodical relapses when the old craving133 comes upon me, and the taste for beautifully fashioned angels, for china and for glass, and I revel134 in a bargain, and exult135 when I have picked up something every girl ought to have. Whilst the glorious fit is on, I am privileged to forget all I learnt in the sum-total lesson.
My experiences in the Lowther Arcade were soon to be suddenly interrupted, and for a long time it was even doubtful whether I should ever again be able to put in an appearance in that place or anywhere else. I caught the scarlet136 fever, not in the slums as it might be thought, but at school, where a regular epidemic137 had broken out. Our class-rooms in King's College were down in the basement, and those who knew said that the outbreak was due to the fact that the filth-laden river came right up to the feet of the grand old building, and washed them dirty day and night; other wiseacres contended that it was more likely to be the churchyard of St. Mary-le-Grand just opposite which had done the mischief138. As far as I can remember, nobody mentioned the drains, which in those days had not yet come into notice and fashion, and could do their level best for the multiplication139 of bacilli without being hampered140 by meddlesome141 sanitary142 inspectors143. Well, whatever may have been the malignant144 source which poisoned me, it had done its work thoroughly145, and developed my scarlet fever in its most virulent146 form. It was a terrible time I went through. I was at death's door, but fortunately that sombre portal remained closed, and I was not bidden to cross the grim threshold.
No, I was destined147 to live and to fight the battle of life with whatever fighting powers I might possess. Later on I was to wrestle148 more than once with the grim immortal149 who only spares each of us mortals till his hour-glass tells him it is time to use his scythe150. And if I wrestled151 well and am here to tell the tale, it is because by my side watched day and night that best of nurses, my mother.
I was never what is called a good patient, and to this day I am very much averse152 to sending for the doctor. I quite feel he indeed is a friend in need, and I do not wish to disparage153 his power for good, or to underrate his skill and judgment154, but as a rule I make a point of not calling him in till I know what I want him to say. I think that doctors nowadays are more agreeable than they were formerly155; the great and fashionable doctors, I mean. A man, to be up to date, had to be brief, brusque, and bumptious156. He seemed to have learnt his stronger English from Dr. Johnson, and generally to have been trained in a Johnsonian atmosphere. He had to say smart things that could be quoted and hawked157 about, and to enunciate158 wise saws in imitation of the master whose sayings are so unmercifully inflicted159 on us to this day. He was in a hurry; he drove up in a big yellow carriage, and before the horses could pull up, his tiger had sprung from the footboard, and was giving the most tremendous double-knock, one evidently meant to awaken160 the dead, in case medical assistance had come too late.
To pass muster161, the doctor's natural kindness had to be concealed162 beneath an outer coating of apparent roughness. Sometimes it was the roughness that was concealed only by a transparent163 veneer164 of amiability165. Certain it is that in those days no doctor could look at a boy's tongue without at once declaring that he stood in immediate166 need of a black dose, and if that vile48 compound did not exceed every other mixture in nastiness, he did not believe it would be efficacious. He revelled167 in blue pills, and was happiest when he could pull out a little lancet and bleed you, or send round a man with a complete set of sharp blades, to do the thing wholesale168, jerking them into some part of your precious self, and pumping a given number of ounces out of it and into his cupping-glasses.
All this is very ungrateful of me, for Dr. Stone was the best and kindest of men—and very undutiful, for he was my godfather (Felix Stone is my full name). To be sure he had a big yellow carriage, and a tiger whose main ambition in life it seemed to be to knock his master's patients up. To be sure Dr. Stone came coated with a veneer of roughness, but it was skin-deep; true, he gave me as many black doses and blue pills as he thought my robust169 constitution could stand, but in addition to these he made me many beautiful presents—a silver mug emblazoned with our family crest170 and the motto "Labore," a splendid family Bible of about my own weight and size, a costly171 edition of Byron's "Childe Harold" and ditto of Milton's "Paradise Lost and Regained," and a number of other things doubly delightful and gratifying to my juvenile mind, because they always came at least three or four years before I knew how to use them.
My good godfather had ushered172 me into this world, from which unfortunately he was himself called away before he had had many opportunities of performing the duties he had undertaken when he pledged himself to see to it that I should "renounce173 the devil and all his works."
When after many weeks of hard fighting with the scarlet enemy, and after having passed through various relapses and complications, I emerged from the sick-room, I was taken to Brighton for a complete change of air. There I soon found new life and strength. Dear old Brighton! I was to find new life and strength there once more, thirty years later, when I met the young lady who said she would—when I asked her to marry me.
My next station was Hamburg. I was sent there to get the benefit of a thorough change of air, and to improve my German. It was shortly after the terrible conflagration174 which had laid low a great part of the city.
The jagged walls, springing in fantastic forms from immense piles of crumbling175 masonry176 and charred177 timber, had a weird fascination178 for me. I was deeply in sympathy with my beloved friend Architecture, and deplored179 the fate that had overtaken some of the best buildings, but at the same time I was lost in admiration180 of the beauties, now picturesque181, now awe-inspiring, which the caprice of the destructive element had stamped on crazy walls and tangled182 masses of wreckage183.
I have since been similarly impressed; in Pompeii first, and again in Paris, after the Commune; only to be sure the former scene of devastation184 I saw neatly185 put in order and made presentable for the visitor, whereas the latter was yet smoking and all besmirched186 with the blood of the sorely visited Parisians.
My father had given a concert for the benefit of the sufferers in Hamburg, and was able to contribute a sum of £643 to the relief fund raised.
On my arrival I was received with open arms by my relatives. My grandfather, Adolf Embden, had been staying with us more than once, and he was particularly partial to his grandson, because he had a marked predilection187 for England and everything that was English. He knew more about British politics than most men born and bred in the country; he read all the big speeches delivered in Parliament, identified himself with the Whigs, and was a fervent188 disciple189 of Cobden and Bright. He did his best to train me in the way I should go, and his methods were quite congenial to my taste. We often took long walks together, and his peripatetic191 teachings are pleasantly blended in my mind with the half-way house at the corner of the Jungfernsteg and the Alster Bassin, then occupied by Giosti Giovanoli, the confectioner. He trained me just once too often, but that was in London, in a shop near Oxford193 Circus, and it was a Bath bun that made me restless. That shop was painted green and gold, and to this day I would not eat on green and gold premises194 if I were starving.
In Hamburg I was welcomed, too, by uncles and aunts, first and second cousins, male and female, and by a strong contingent195 of grandaunts. I am aware that most people have quite as many relatives of their own as they need for home consumption, and that being so, they are not pleasantly disposed towards the family history of their friends. So I mean to use my relatives sparingly, and only to bring them in where they are associated with things I well remember. My mother has penned most characteristic sketches197 of many of those worthy personalities198 in a MS. she has entitled "Early Recollections," and the grandaunts hold a prominent place in those papers; but for the reason just given, I refrain from transcribing199 her graphic104 descriptions of their doings. I would, however, record my own boyish impressions, to the effect that one or two of my grandaunts were a caution to rattle-snakes. I have learned since to see that they were nothing of the kind, but just old ladies of marked originality200. It took some time before I could get to like being loved by them; I preferred making faces behind their backs, a pastime which I was joined in by a cousin about my own age. Cousin Carl got into trouble oftener than I did, and had more reason to regret it, for in one of the drawers of an old-fashioned mahogany secretary his father kept an orthodox cane12 which he would produce on special occasions—such were the unchallenged methods of training in those days. My uncle was the best of men, anxious only to chastise201 for the good of the young delinquent202, whom he tenderly loved, but he might have saved himself the trouble, for poor Cousin Carl was never to reap the benefit of his training. He had at no time been robust, and was not to live long. That winter of 1842 was looking about for victims. The fearful mornings, when we had to get up in the dark, and wash by the flicker5 of a tallow candle—wash, that is if we succeeded in hacking203 up the ice in the jug204, and in finding some water at the bottom of it—those fearful mornings proved too much for him. Poor Carl's faces, as he made them behind people's backs, grew longer and longer, his cough grew hollower and hollower, and he soon went to rest where there are no canes205 and no tallow dips, and all is peace, and even one's grandaunts are seraphs.
The sad event did not, however, take place during my stay in Hamburg. I spent some six or eight months with my uncle and aunt. She, my Tante Jaques, was my mother's only sister, and was deeply attached to her; on me she lavished unvarying kindness and affection. My cousins, all older than myself, were delighted to have the "little Englishman" in the house, and the friendship we struck up then has lasted through life.
One of the grandaunts was a sister of Heinrich Heine, the poet. She had married into the Embden family, and so Heinrich was a sort of cousin of my mother's. They saw a good deal of one another when my mother was in her teens, and he was a dreamy youth whom she and the other girls of the family circle delighted to chaff206. His frequent headaches they not incorrectly ascribed to his mode of living; to be sure, they said, he looked pale and interesting, but that was only because he had eaten too much at yesterday's dinner party. "Now, what is the matter with you again to-day?" said my mother as he sat down opposite her one morning and watched her shelling peas. "How pale you are! it's that head again, I suppose?" "Yes, Lottchen, I am ill; it is the head again." "That is what you are always saying, but I'm sure it is not as bad as you make it out to be. Come now, am I not right?" "O Lottchen," he said, "you do not know how I suffer;" and as he sat there musing207, she had not the heart further to chaff him. When the next volume of his poems appeared shortly afterwards, she knew what had passed through his mind on that occasion, and perhaps on others when she had shown him friendly sympathy.
He writes:—
"When past thy house at morning
I take my way, to see
Thy face, child, at the window
Is deep delight to me.
Thy dark-brown eyes seem asking
As my sad, pale looks they scan,
Who art thou, and what ails208 thee,
Thou strange and woe-worn man!
'I am a German poet,
Through Germany widely known;
When they name the names that are famous,
With them they will name my own.
'And what I ail36, oh many,
Dear little one, ail the same.
When they name the worst of sorrows,
Mine, too, they are sure to name.'"
Sometimes he was in livelier moods, as one day, when he, my grandfather, and my mother were walking through the fields together, and were joined by a remarkably209 dull doctor of philology210, whose company was particularly distasteful to Heine. Pointing to half-a-dozen cows and oxen that were grazing close by, he said in an undertone: "I say, Lottchen, now there are seven doctors on the meadow."
Salomon Heine, the poet's uncle, was a millionaire who spent his money right royally and philanthropically; a man who owed his fortune to his own exertions212, and who, when he had made a million of marks for each of his children—I forget how many he had—devoted213 the next million he amassed214 to the foundation of a hospital. He was a delightful specimen215 of an uncle, too, for he would spend his money philonepotically as well as philanthropically. The nephew was ever ready to dive into the uncle's purse; equally ready to make literary capital out of him and his friends. Gumpel, another rich banker—we know him as Gumpelino—was his pet aversion, and specially suggestive to him as a butt216 for his satire217. Gumpel, too, was a self-made man, a fact of which, however, he did not like to be reminded, quite unlike old Heine, who loved to bring up the subject to the annoyance of his friend, shouting across the table stories of the early days when they came to Hamburg with their bundles slung across their shoulders. To his nephew he was ever indulgent; he was proud of his rising popularity, and as a rule was not appealed to in vain when the young genius had got into money troubles. On one occasion, though, he lost patience when he had given him a round sum wherewith to defray the expenses of a journey to Norderney, a summer resort on the coast of the North Sea. Instead of devoting the money to the purpose of improving his health, he managed in one night to roll the round sum into other people's pockets at the gaming tables. This time the uncle was indignant, and Heinrich would probably never have gone to Norderney, and consequently never have written the "Nordsee-Lieder," had not the well-known firm of Hoffman & Campe come to the rescue with the necessary funds, in consideration of which they stipulated218 he should write a volume of songs for them.
In Hamburg I was sent to the Johanneum, a large public school. It was rather hard, after having been called a German sausage in England, to be derided219 as an English "Rossbiff" or "Shonebool," which was meant for John Bull. The whole class roared with laughter when I rose for the first time to decline ? Μο?σα, pronouncing the defunct220 Greek language as it was spoken in King's College, and the jeers221 of that whole class so galled222 and stung me that I wished I could kill all German boys at a stroke, or at least maim223 those despicable ones within my reach for life. It was well I could not act upon the impulse, for many a German boy of that day was to be a staunch friend to me in after life. I had my troubles in those Teutonic school-days, and I thought the proceedings224 monotonous225, but still there was pleasurable excitement to be had occasionally, as when old Hummel came along—a half-witted water-carrier whom every bad boy in Hamburg knew and hooted226. Three words we would shout in his face, three words that meant absolutely nothing, but that sounded worse than any bad language I had ever heard. He was a shaky old man, and the water-pails suspended from his shoulders prevented his running after us, and so we could indulge with impunity227 in the exhilarating sport of mocking him to the fullest extent our wicked little human hearts desired.
I have also a pleasant recollection of caterpillar228-hunting; we were spending the summer near Hamburg in a rustic229 retreat, and a regular plague of these insects made life a burden to some members of the family. They were larger than ordinary caterpillars230 and more hairy, and they were so numerous that much thought and care had to be bestowed231 on the methods of protecting ourselves against them; for they did not confine themselves to the garden, they made no difference between vegetable produce and grand-aunts, and would mistake the best bonnets232 of those worthies233 for cabbage leaves. There was even a rumour234 that one of these slimy crawlers had been crushed out of existence by my grandest-aunt, who chanced to be the heaviest one too. How that caterpillar found its way between that lady's bed-sheets, and whether it did so with or without assistance, was fortunately never ascertained235, and as discreet236 silence has been maintained on the subject for years, it is not for me to solve the mystery to-day.
After an absence of some six or eight months I returned to London, to that 3 Chester Place so full of memories, personal and artistic237.
There were quite as many infant prodigies238 in those days as there are now; little exotic plants, forced in artistic hothouses, artificially developed, and prematurely239 produced in drawing-rooms and concert halls; glittering little shooting-stars, nine-days' wonders, to be soon forgotten, and ere long to be buried.
But then, there were also wonder-children, as the Germans call them, who thrived and lived, and who seemed to combine in themselves all the qualities that had belonged to the little victims of forced training. Such a one was Joachim. He first appeared in public when he was seven; five years later be played in Leipsic at Madame Viardot's concert; and when he was not yet fourteen he gathered his first laurels in London at the Philharmonic. That year—it was 1844—Mendelssohn was in England, and mightily240 interested in the young violinist. One evening, after singing at our house, Mendelssohn wanted to take him to a musical party; a pair of gloves were deemed necessary to make him presentable, and we two boys were sent out to get them; we had a walk, and a talk besides, and I remember thinking what a nice sort of sensible boy he was; no nonsense about him and no affectation; not like the other clever ones I knew. The gloves we bought in a little shop in Albany Street, Regent's Park, and as these were the first pair of English gloves that Joseph wore, I duly record the historical fact for the benefit of all those who have at one time or the other been under the spell of the fingers we fitted that evening.
When two years later we met in Leipsic, it so happened that I was suddenly fired with the desire to play the violin too. My friend Joseph was quite ready to teach me, and we started operations, but two or three lessons were sufficient to convince him and me, that mine was an unholy desire, which, if gratified, would give me the power of inflicting241 much suffering on my fellow-creatures, and which therefore was calculated to lead me into trouble. So we gave it up, and Joachim has had to rely on other pupils for his reputation as a teacher.
Liszt too had been a juvenile phenomenon, but had long arrived at full maturity242 at the time I first remember him. I was then about ten, and he some twenty years older. I think I never knew anybody so calculated to fascinate man, woman, or child. He generally spoke in French, which I did not understand, but I had to listen to every word. His voice alone held me spell-bound; it rose and fell like a big wave, and I could tell that something unusual was going on; that voice was evidently scattering243 thought as the big wave scatters244 spray, and those clear-cut features of his were each in turn accentuating245 and emphasising his words. His grand leonine mane fascinated me as it started from the lofty forehead, and bounded Niagara-like with one leap to the nape of the neck.
My early recollections of his playing are rather limited. As a boy I was mainly impressed by his long chord-grasping fingers, contrasting as they did with my father's small, velvety247 hand. To see him play was quite as much as I could do, without particularly attending to what he played, to watch his hands fly up from one set of notes and pounce44 down on another, and generally to lie in wait for the outward manifestations248 of his genius. Later on I grew accustomed to the grand young man's ways, and just knelt at his shrine28 as everybody else did.
My father was not the least outspoken249 of his admirers. In the early days he mentions him as "that rare art-phenomenon," and tells how "he played Hummel's Septet with the most perfect execution, storming occasionally like a Titan, but still in the main free from extravagance." Later on, at the Musical Festival held in Bonn, he describes him as "the absolute monarch250, by virtue251 of his princely gifts, outshining all else."
Half a century ago playing à quatre mains was much more popular than it is now; more pieces were written and more pianoforte arrangements were made for two performers. The full-fledged pianist of to-day thinks he is quite able to do the work of two, and sees no reason why he should share the keyboard with another; so he prefers to keep the whole function in his own hands. Formerly he was satisfied to give a concert; the very word implied concerted action of several artists; now he announces the one-man show called a Recital252, in which he stars and shines by himself. He scorns assistance, for he wishes it to be understood that he can get through the most formidable programme without breaking down, and that he can rely on his ironclad instrument to hold out with him and lead him triumphantly253 to the finale.
Well, the great virtuosi of my early days certainly loved playing together, and many are the instances of such joint254 performances, both in private and in public, which I recollect. How my father enjoyed playing with Liszt he records when he says: "It was a genuine treat to draw sparks from the piano as we dashed along together. When we are harnessed together in a duet we make a very good pair; Apollo drives us without a whip."
If, as my father assumes, Apollo was really the driver on occasions of that kind, I feel sure that his favourite team must have been Mendelssohn and Moscheles; they certainly enjoyed being in harness together, sometimes playing, and sometimes improvising255. Occasionally the humour of the moment would lead them to compose together, as when one evening they planned a piece for two performers to be played by them three days later at a concert my father had announced. The Gipsies' March from Weber's "Preziosa" being chosen as a subject for variations, a general scheme was agreed upon, and the parts were distributed. "I will write a variation in minor and growl256 in the bass192," said Mendelssohn. "Will you do a brilliant one in major in the treble?" It was settled that the Introduction and first and second variations should fall to Mendelssohn's lot, the third and fourth to my father's. The finale they shared in, Mendelssohn starting with an allegro257 movement, and my father following with a "più-lento." Two days later they had a hurried rehearsal258, and on the following day they played the concertante variations, "composed expressly for this occasion," as the programme had it, "and performed on Erard's new patent-action grand pianoforte." Nobody noticed that the piece had been only sketched259, and that each of the performers was allowed to improvise260 in his own solo, till at certain passages agreed upon, both met again in due harmony. The Morning Post of the day tells us that "the subject was treated in the most profound and effective manner by each, and executed so brilliantly that the most rapturous plaudits were elicited261 from the delighted company."
Mendelssohn himself in a letter gives a graphic account of a rehearsal held at Clementi's pianoforte factory, when the two friends played his "Double Concerto in E."
"It was great fun," he says; "no one can have an idea how Moscheles and I coquetted together on the piano—how the one constantly imitated the other, and how sweet we were. Moscheles plays the last movement with wonderful brilliancy; the runs drop from his fingers like magic. When it was over, all said it was a pity that we had made no cadenza; so I at once hit upon a passage in the first part of the last Tutti, where the orchestra has a pause, and Moscheles had, nolens volens, to comply, and compose a grand cadenza. We now deliberated amid a thousand jokes whether the small last solo should remain in its place, since, of course, the people would applaud the cadenza. 'We must have a bit of Tutti between the cadenza and the solo,' said I. 'How long are they to clap their hands?' asked Moscheles. 'Ten minutes, I daresay,' said I. Moscheles beat me down to five. I promised to supply a Tutti; and so we took the measure, embroidered263, turned and padded, put in sleeves à la Mameluke, and at last, with our tailoring, produced a brilliant concerto. We shall have another rehearsal to-day; it will be quite a picnic, for Moscheles brings the cadenza and I the Tutti."
That golden thread of "great fun," as he calls it, goes through the history of Mendelssohn's life. It intertwined itself with the sensitive fibres of his nature, thus becoming an element of strength, a factor that illuminated264 his path and spread bright sunshine wherever he went. In fact I always thought one of the most delightful traits of his character was a certain na?veté, which enabled him to appreciate the humour of a situation, and thoroughly to enjoy it with his friends. He would turn some trivial incident to the happiest account, and in his own peculiarly genial190 way, make it the starting-point for a standing266 joke, or a winged word, to be handed down from generation to generation in the families of his friends.
Amongst the many drawings of his we treasure in the family is one humorously illustrating267 my father's works. It takes the shape of an arabesque268, artistically269 framing some lines written for the occasion of his birthday by Klingemann. A second verse was composed for a subsequent birthday.
When in later years, and with a view to publication, I ventured to ask Robert Browning for an English version of those lines, he, with his usual kindness, sent me the following letter:—
"29 De Vere Gardens,
Nov. 30, '87.
"My dear Moscheles,—Pray forgive my delay in doing the little piece of business with which you entrusted270 me: an unexpected claim on my mornings interfered271 with it till just now. Will this answer your purpose anyhow?—
"'Hail to the man who upwards272 strives
Ever in happy unconcern:
Whom neither blame nor praise contrives273
From his own nature's path to turn.
On, and still on, the journey went,
Yet has he kept us all in view,
Working in age with youth's intent,
In living—fresh, in loving—true.'
"Were my version but as true to the original as your father's life was to his noble ideal, it would be good indeed. As it is, accept the best of yours truly ever,
Robert Browning."
Having started on my recollections of Mendelssohn, I am somewhat perplexed274 to know how many or how few of them I should record here. So much has been published about him, first by my mother in "The Life of Moscheles,"[1] where she has used my father's diaries and correspondence, and then by myself, when I translated and edited Mendelssohn's letters to my parents,[2] that perhaps I ought not to run the risk of telling what is already known. But, on the other hand, Mendelssohn plays so prominent a part in my early recollections, that I cannot write these without attempting to portray275 the principal figure, my father's most intimate friend and my very dear godfather.
I shall, at any rate, have to exercise due discretion276 and care, for Mendelssohn, and what he said and did, was such a constant theme of conversation in our family, that I grew up knowing my parents' friend nearly as well as they did themselves, and I may consider myself fortunate if, in recording277 my earliest impressions, I do not find myself remembering things that happened before I was born.
The very first letter which connects me with Mendelssohn is the one in which he congratulates my parents on the arrival of a son and heir. He heads it with a pen-and-ink drawing, representing a diminutive278 baby in a cradle, surrounded by all the instruments of the orchestra.
"Here they are, dear Moscheles," he says, "wind instruments and fiddles280, for the son and heir must not be kept waiting till I come—he must have a cradle song, with drums and trumpets281 and janissary music; fiddles alone are not nearly lively enough. May every happiness and joy and blessing282 attend the little stranger; may he be prosperous, may he do well whatever he does, and may it fare well with him in the world!
"So he is to be called Felix, is he? How nice and kind of you to make him my godchild, in forma! The first present his godfather makes him is the above entire orchestra; it is to accompany him through life—the trumpets when he wishes to become famous, the flutes283 when he falls in love, the cymbals284 when he grows a beard; the pianoforte explains itself, and should people ever play him false, as will happen to the best of us, there stand the kettle-drums and the big-drum in the background.
"Dear me! I am ever so happy when I think of your happiness, and of the time when I shall have my full share of it. By the end of April, at the latest, I intend to be in London, and then we will duly name the boy, and introduce him to the world at large. It will be grand!"
In a later letter he announces himself as arriving in June, "ready to act as a godfather, to play, conduct, and even to be a genius."
He came, and I was duly christened Felix Stone Moscheles in St. Pancras Church. Barry Cornwall wrote some lines commemorative of the occasion. Alluding285 to the date of my birth, he begins:—
1. (February).
Speak low! the days are dear,
Sing load! A child is born!
Music, the maid, is watching near,
To hide him in her bosom286 dear,
From sights and sounds forlorn.
Happy be his infant days!
Happy be his after ways!
Happy manhood! Happy age!
Happy all his pilgrimage.
2. (June).
Breathe soft! the days grow mild,
The child hath gained a name!
Now sweet maid, Music! whisper wild
Thy blessings287 on the new-named child,
And lead him straight to fame.
"Felix" should be "happy" ever,
And his life be like a river,
Sweetness, freshness, always bringing,
And ever, ever, ever singing!
Well, the "sweet maid, Music" never led the new-named one "straight to fame," nor did the child ever get there by any circuitous288 route, but Felix was certainly "happy ever."
In this, my case, there certainly must have been something in a name, for my good godfather endowed me with my full share of happiness.
In later years Berlioz wrote that well-known line of Horace's in my album:—
"Donec eris Felix, multos numerabis amicos."
(As long as you are happy you will number many friends.) And when I reflect how much friendship I have enjoyed from the day of my christening to the present hour, I feel certain that the name was of good augury289, and that Horace and Mendelssohn were right.
If the complete orchestra was the first godfather's present, the little album was the second. It measures only six inches by four, but that small compass holds much that is of interest. The book is full now; it required about half a century to cover its pages, for they contain only the autographs of such celebrities290 as were my personal friends. Mendelssohn had appropriately inaugurated it with a composition, the "Wiegenlied" (slumber291-song), now so popular.
There are also two drawings by him, one of 3 Chester Place, Regent's Park, and another of the Park close at hand. Mendelssohn must have sat out of doors to make these very faithful transcripts292 of nature, and I sometimes wonder how the street-boys of those days took it. Looking at those contributions, one cannot help being struck by the care which he bestowed on everything he did. His handwriting was always neat and clear, with just enough of flourish and swing to give it originality. His musical manuscripts vie in precision with the products of the engraver's art, and again there is a marked analogy between his style of drawing and the way in which he forms the letters of the alphabet, or the notes of the scales. As one peruses293 his manuscripts, one finds oneself admiring the artistic aspect of his well-balanced bars, and on the other hand, the harmonious294 treatment of his drawings recalls the appearance his pen gives to his scores. In the view he took of the Regent's Park, the leaves, so delicately and yet so firmly pencilled, seem to sway and rustle295 in unison296 with the sprightly297 melody of the scherzo in the "Midsummer-Night's Dream," and just as that melody is discreetly298 accompanied by the orchestra, so in the drawing, the houses, the old Colosseum in the background, and the trees in the middle-distance, are, one and all, made to keep their places, and deferentially299 to play second fiddle279 to the rustling300 leaves.
In due course of time, and after full enjoyment of the Slumber Song, I got out of my cradle and on to my legs, and it is from that stage in my development that I really date my recollections of my godfather. Some are hazy301, others distinct. I am often surprised when I realise that he was short of stature302; to me, the small boy, he appeared very tall. I looked upon him as my own special godfather, in whom I had a sort of vested interest, and I showed my annoyance when I was not allowed to monopolise him, or at least to remain near him. Being put to bed was at best a hateful process; how much more so, then, when I was just happily installed on my godfather's knee; occasions of that kind are connected in my mind with vociferous303 protests, followed by ignominious304 expulsion.
There were, however, happier times soon to follow, times which recall to me our exploits in the Park. He could throw my ball farther than anybody else; and he could run faster too, but then, to be sure, for all that, I could catch him. There were pitched battles with snowballs, and there was that memorable305 occasion when I got my first black eye. I remember it came straight from the bat, but—to tell the truth—I was never quite sure that Mendelssohn was in any way connected with that historical event, correctly located though it is, in the Regent's Park.
Our indoor sports must have been pretty lively too, for on one occasion my mother records how "in the evening Felix junior had such a tremendous romp18 with his godfather, that the whole house shook." And she adds: "One can scarcely realise that the man who would presently be improvising in his grandest style, was the Felix senior, the king of games and romps306."
One of my achievements, when I was a little boy in a black velvet246 blouse, was the impersonation of what we called "the dead man"; the dying man would have been more correct. From my earliest days I evidently pitied the soldier dying a violent death on the battlefield. Since then I have learnt to extend my commiseration307 to the tax-payer, and to the many innocent victims of a barbarous and iniquitous308 system. Well, the dying man in the blouse was stretched full length—say some three feet—on the Brussels carpet. Mendelssohn or my father were at the piano improvising a running accompaniment to my performance, and between us we illustrated musically and dramatically the throes and spasms309 of the expiring hero. I was much offended once, because they told me I acted just like a little monkey; I did not know then, but I am quite sure now, that behind my back they said in a very different tone, admiring and affectionate: "He is such a little monkey."
That black velvet blouse I particularly remember, because John Horsley, now the veteran R. A., then but a rising artist, painted me in it; and also because Hensel, Mendelssohn's brother-in-law, made a sketch196 of it in my album, at my particular request, representing me on horseback.
What honours that garment might not further have attained310 I do not know, had I not once for all checked its career by climbing over some freshly painted green railings in the Park, and thus irreparably spoiling it.
The dead-man improvisations remind me of the marvellous way in which my father and godfather would improvise together, playing à quatre mains, or alternately, and pouring forth130 a never-failing stream of musical ideas. I have spoken of it before, but it was in a preface, and who reads a preface? So I may perhaps once more be allowed to describe it. A subject started, it was caught up as if it were a shuttlecock; now one of the players would seem to toss it up on high, or to keep it balanced in mid-octaves with delicate touch. Then the other would take it in hand, start it on classical lines, and develop it with profound erudition, until perhaps the two joining together in new and brilliant forms, would triumphantly carry it off to other spheres of sound. Four hands there might be, but only one soul, so it seemed, as they would catch with lightning speed at each other's ideas, each trying to introduce subjects from the works of the other.
It was exciting to watch how the amicable311 contest would wax hot, culminating occasionally in an outburst of merriment, when some conflicting harmonies met in terrible collision. I see Mendelssohn's air of triumph when he had succeeded in twisting a subject from a composition of his own into a Moscheles theme, while the latter was obliged to second him in the bass. But not for long. "Stop a minute," said the next few chords that my father struck. "There I have you, you have taken the bait." Soon they would be again fraternising in perfect harmonies, gradually leading up to the brilliant finale that sounded as if it had been so written, revised and corrected, and were now being interpreted from the score by two masters.
Besides my godfather there were many of my father's friends who were kindly312 disposed towards me. Malibran is one of those I associate with my earliest days. Perhaps I remember her, perhaps I but fancy I do, for I was only three or four years old when she died. But I have impressions of her sitting on the floor and painting pretty pictures for us children; a certain black silk bag, from the depths of which she produced paint-box, brushes, and other beautiful and mysterious things, had an irresistible313 charm for us, as had also her big dark eyes, and that wonderful mouth of hers, which she showed us could easily hold an orange. And then she would sing to us Spanish songs by her father, Manuel Garcia, and other celebrities. In my album she wrote, "Nei giorni tuoi felici ricordati di Marie de Beriot," and the flourish appended to the signature takes the shape of an apocryphal314 bird. For my father's album, one of the completest of its kind, she composed an Allegretto, a song which I believe has never been published.
The words, probably by herself, run thus:—
"Il est parti sans voir sa fiancée
Lorsque le bal était prêt à s'ouvrir;
Si pour une autre il m'avait délaissée,
Malheur à moi, je n'ai plus qu'à mourir."
It is dated July 16, 1836: she died on the 23rd of September following.
Thalberg was also a children's man. He was not much of a romp, but always full of jokes, musical and otherwise. Interested as I was in the outward appearance of my home pianists, I was duly impressed by Thalberg's rigid appearance at the piano, contrasting as it did with the lively ways of Liszt and others. He had trained himself to this truly military bearing by practising his most difficult passages whilst he smoked a long Turkish chibouk, the cup of which rested on the ground.
Another source of wonder, not unmixed with awe, was the bulky frame of Lablache, the great singer. It was indeed a basso profondo which emerged from the depths of his ponderous315 figure. The beauty of his voice, the perfection of his style, and his unconventional deportment on the stage, I learnt to appreciate in later years. I particularly recollect him as Bartolo in Rossini's "Barbiere," on an occasion when Sontag and Mario took the other leading parts. As a small boy I just liked to walk round him, and thought the hackney-coach driver, as they called the cabby then, was not far wrong when he inquired whether his fare expected to be conveyed in one lot.
One of the friends of those early days was Dante Gabriel Rossetti. His father was giving my elder sisters Italian lessons, and that led to most friendly intercourse316 with him and his two sons. I mention Gabriel's name with a twinge of regret, for the chief records of that intercourse, a number of drawings by his hand, are irretrievably lost. There were—I see them still—knights in armour317, fair ladies, and graceful318 pages, bold pen-and-ink drawings, illustrating a story that ran through several numbers of our own special paper the "Weekly Critic." What, or by whom the story was, I do not recollect, probably by Chorley, who was a frequent contributor to that weekly publication of ours. The drawings in no way foreshadowed Gabriel's later manner; they were just what an imaginative young fellow of seventeen or eighteen would draw, but I feel sure there were no beautiful peculiarities319 or other poetical320 deviations321 from the natural in this his early work. I often wonder where the "Weekly Critic" is in hiding. If this should meet the eye of anybody who knows, I trust he will come forward and receive my blessing in exchange for the drawings which we will give to an expectant world.
When I was about twelve I made my first appearance on the stage under peculiar265 circumstances. My father had announced a concert in Baden, where we were spending the summer, he the centre of a musical circle, I a schoolboy enjoying my holidays, and specially devoted to the climbing of trees and the picking of blackberries. The impresario322 of the Court Theatre in Carlsruhe (he seemed to me a sort of Grand Mogul) had graciously permitted the stars of his Opera to sing at that concert of my father's. At the eleventh hour, however, there was a hitch323, and the stars were needed to shine on their own Grand-Ducal boards. In the hope that matters might yet be settled in his favour, my father sent me to him with urgent messages. On my arrival I made straight for the theatre, and entering by an unguarded back door, I soon found myself in a maze324 of dark passages. The sounds of music guided me to the stage, where a rehearsal of the "Vier Haymons-Kinder" was going on, and from the wings I found my way into a rustic arbour destined for the trysting-place of the lovers in the particular scene which was being rehearsed; there I was biding325 my time when I was discovered by the lady who had come to meet the tenor326. The performance was abruptly327 stopped; the lady was no other than the great prima donna and our old friend Madame Haizinger. Rushing at me with a cry of dramatic exultation328, she seized me and carried me triumphantly on to the middle of the stage. "Here," she cried, holding me up to the assembled company, my arms and legs dangling329 in mid-air—"here, ladies and gentlemen, you see Felix, the son of my old friend Moscheles." The Grand Mogul sat at a table covered with papers to my left, and happily looked upon the interruption and the rapturous outburst as nothing uncommon330. As soon as I was replaced on my feet, I delivered my messages, but my influence as a diplomatic agent was not proof against untoward331 circumstances, and I failed in my mission.
That same Court Theatre was destined soon to become the prey332 of flames; it was the scene of a terrible catastrophe333 when many lives were lost.
I was soon to see more of Carlsruhe. Chiefly with a view to improving my German, I was put to school there. Now Carlsruhe was in those days one of the dullest places rational man ever condescended334 to inhabit. I think it was Heine who said that the dogs came up to you in the street and begged as a favour that you would tread on their toes, just to relieve them of the intolerable monotony of their lives. How it is to-day I don't know; probably they now have music-halls and motor cars, jingoes and pickpockets335, but in my time all was slow, sure, and safe. The Grand-Duke sat in his palace like a royal spider in his web; all the streets radiated fan-like from the centre he occupied. In the forest, at the back of the palace, the avenues were cut out so as to form a counterpart to the city, one and all converging336 towards the abode337 of the Ruler. A fine spacious338 market-place there was, however, with a town-hall and a church and a monument to a departed Markgraf, round which clustered on certain days quaint339 old apple-women whom we school-boys patronised to the fullest extent of our limited means. We were close at hand, for the "Gymnasium" was happily situated340 in this most attractive part of the town. For all that, it took me some time before I could get accustomed to my new home.
Professor Schummelig, to whose care I was entrusted, was good in his way; I give him a fictitious341 name, as I have to record that he could also be bad in his way. I don't think he made my lessons more tedious or my tasks more irksome than any other ordinary German professor would have done; but he was pedantic342 and I was imaginative, so we did not always give one another satisfaction. We had one or two grand rows, in which the wrongs cannot have been all on my side, for, as soon as convenient, he granted me a free pardon, in consideration of which I was required not to mention the unpleasant incident in my letters to my parents (my father paid a hundred florins per quarter). I acquiesced343, and so we were soon on good terms again.
But I always felt he was an egoist. He would carve the daily little piece of boiled beef just so as to give himself the particular portion which I coveted344. The bread, too, was under his control: he would never take much of it at a time, but he would just cut himself little titbits, crisp corners, and knotty345 excrescences, until the loaf took the appearance of a dismantled346 wreck122. He also squinted347, not with that broad outside squint348, ever ready to see both sides, to embrace all things, but with a narrow selfish inside squint which slid down his nose, and from there watched the focussing and absorption of the titbits with keen interest and an irritating show of gratified tastes.
And not only was the professor's field of vision thus distressingly349 limited, but there was also some moral obliquity350 in his composition. He mistook certain piles of fire-logs, which had been stocked for the use of the public school, for his own private property. When this was discovered, the authorities, happily for the professor, winked351 at his delinquencies with an eye to avoiding a scandal—a course they might be well justified352 in taking, as Justice herself is admitted to be blind.
There were two female servants to minister to our wants—two female drudges353, I should say. In lieu of their real names they had been dubbed "Die grosse Biene" and "Die kleine Biene"—the great bee and the little bee—with a view, I suppose, to encouraging them in the delusion354 that they were not born white slaves, one large and the other small, but busy bees whose nature it was to improve the shining hour, whether it shone by the light of the day or the oil of the night.
The German language, as spoken in the Fatherland, its irregularities, vagaries355, and varieties, gave me much trouble. In Hamburg I had learnt to pronounce the words "stehen" and "stossen" with a sharp and incisive356 st; in the south, all the stiffness and stubbornness was taken out of it, and I had to say "schtehe" and "schtosse." Then the words themselves changed, and "laufen" stood for "gehen," "springen" for "laufen." This surprised me, as I did not know then that the Southerner generally calls running what the Northerner calls walking.
Titles, too, puzzled me, especially when applied357 to ladies. The first time I heard the "Frau Professorin" mentioned, I looked so blank, not to say shocked, that I evoked358 general mirth. (It is surprising how well one remembers the occasions when one was laughed at.) But the "Frau Professorin" seemed a strange creature to me in those days, and I little thought that for many a year I was to hear my own mother called by that title.
I had my first skirmishes with the French language too, and I certainly thought I was being made a fool of when I was told there was no word in French for our verb, "to stand." I had learnt the German "stehen" and the ditto "schtehe," and I had conjugated359 every tense of the Latin "stare," and now I refused to believe that the French language could have a locus360 standi amongst civilised nations without an equivalent for those words. I did not know then how much civilisation361 can put up with, and it took me a long while to overcome my mistrust of a language so evidently unsound at its base.
We all know to what wearisome length an average schoolmaster can draw out a single hour, and my teachers were no exception to the rule. Time went slowly, as did all things fifty years ago in Carlsruhe.
What a blessed relief it was then when a holiday came round! Perhaps it was when we were liberated262 in honour of our glorious Grand-Duke's birthday, perhaps when we were to join in the commemoration of some great deed or greater misdeed of one of his ancestors, or perhaps—best of all—when once or twice Mother Earth was clad in so much loveliness, that it was just impossible to keep masters and boys indoors, dissecting362 dead languages and putting historical bones together. Nature herself seemed to proclaim a free pardon for us prisoners and for our warders: off we went all together to the woods.
How we ran and shouted when we got into those avenues of trees behind the Grand-Ducal Palace, how madly we raced, how heroically we fought the boys we hated, and how solemnly we swore eternal friendship with the ones we loved! We climbed trees, cut sticks, and did what little harm we could to exuberant363 prolific364 Nature; we chased butterflies and deprived spiders of their legitimate prey, and then—selfish little lords of creation that we were—we settled down where the grass grew thickest, to discuss large haunches of bread and red-cheeked apples, and to crack nuts and jokes in true schoolboy fashion.
The masters forgot for the while that they were German professors, with spectacles on their noses and Latin quotations365 on their lips. They were just human, and felt themselves as much at home in the woods as we did, gratefully inhaling366 the same balmy air, and greedily swallowing the same glittering dust. They knew something, too, to tell us about God's creation, and in those blessed hours taught us wonderful and beautiful things that stirred our little souls, and made us glad to live and wonder and worship.
Oscar—I have forgotten his surname—was not a professor, and did not even wear spectacles, but he was a sort of monitor, had long silky eyelashes, and he certainly was in love. He never told me so, but I am sure he was, and remembering him and his eyelashes as I do, I can easily reconstruct the simple story of his love. She was a Gretchen, a sweet German maiden367, blue-eyed and golden-haired. They first met at a Kr?nzchen where their feet waltzed to the same step and their hearts beat to the same tune211. Then on two ever-to-be-remembered Sunday afternoons they took coffee together in the "Restauration zum blauen Stern," and on the second occasion, as they were going home through the pine-woods, he said something to her she had never heard before; her answer was inaudible, but I know she left her hand where he wanted it to remain, and the good old moon did the rest. They soon received the paternal368 and maternal blessings, and now they were happy in the knowledge that in six or eight years nothing would stand between them and their fondest hopes, when he probably would have passed his examinations and have secured his first appointment.
I must have caught the loving mood from Oscar, or else some wood-nymphs or sprites must have been trying their hands on me, or perhaps I was only tired and lagged behind. Certain it is that a new sort of feeling came over me, a semi-conscious yearning369 for an unknown quantity that was waiting for me somewhere; and as I lay on my back under the trees, my imagination shot upwards, starting from the gnarled roots by my side, along the mast-like perpendiculars370 the pines, past jolly little squirrels, patches of moss371 and garlands of creepers, right to the top where the sky's blue eyes were winking372 at me. Nature was whispering some secret and I was dreaming my first Midsummer-Day's Dream.
All around there was humming and buzzing, piping and singing; mysterious sounds, joyous373 notes, and pensive374 ditties. Some bird with a flute-like voice sang a pretty little musical phrase, just a bar of five or six notes, and kept on repeating it at intervals375. Another little bird, deep down in the forest, answered it—birds of a feather flirt376 together—only there were so many chirping377 chatterboxes about, enjoying themselves in their way, that the warbling flirtation378 was carried on under difficulties. For all that, the flute-like voice never tired of saying its say, and putting its question, pleased as it evidently was with its mate's reply. I dare say it knew a good deal better than I did at the time what it was all about, and what was the grand and glorious answer inexhaustible Nature held in store for it.
For my part, I gazed upward at the patches of ultramarine, and longed for them, but it was not till years afterwards that they vouchsafed379 to come down. Then, when they took the shape of a pair of real blue eyes, it all dawned upon me, and I knew what Nature had been whispering, and understood that stately pine-forests, jolly little squirrels, and loving little birds, were only created to guide and direct good little boys to realms of joy and happiness.
Whilst I was sitting on school-forms puzzling over nouns and verbs, or lying on the grass communing with the birds, things were happening in my London home that were once more to lead to a change in my surroundings.
Another pleasant day-dream, one that my father and his friend Mendelssohn had for some time past been indulging in, was about to be realised. The frequent correspondence between them, delightful as it was, the exchange of views, musical and personal, and the occasional meetings in England or Germany, had only more saliently brought out the points in favour of a long-cherished scheme which should enable them to live and work together in the same town.
Mendelssohn had for some time been planning the formation of a School of Music in Leipsic, and his letters of this period are full of the warmest and most eloquent appeals to my father to give up his position in England, and to take up his residence in Leipsic. The outcome of it was, that the Conservatorio in that city was founded, and that my father was offered a professorship. In answer to his assumption that Mendelssohn would act as director, the latter answers: "I am not, and never shall be the director of the school. I stand in precisely the same kind of position that it is hoped you may occupy. The duties of my department are the reading of compositions, &c., and as I was one of the founders380 of the school, and am acquainted with its weak points, I lend a hand here and there until we are more firmly established."
In the summer of 1846 my father migrated to Leipsic. He gave up his brilliant position in London, and, actuated by the love of his art and his desire to be in daily touch with Mendelssohn, he had no hesitation381 in accepting a salary of 800 thalers (£120) per annum. In a letter to a relative he speaks of the dear and kind friends he leaves behind. "Parting from them individually," he says, "and indeed from the English nation generally, will cost us a bitter pang382, for twenty-four years of unswerving kindness have laid upon us obligations which we can only pay with life-long gratitude383."
And Mendelssohn wrote: "How could I tell you what it is to me, when I think you are really coming, that you are going to live here for good, you and yours, and that what seemed a castle in the air is about to become a tangible384 reality; that we shall be together, not merely to run through the dissipations of a season, but to enjoy an intimate and uninterrupted intercourse! I shall have a few houses painted rose-colour as soon as you really are within our walls. But it needs not that; your arrival alone will give the whole place a new complexion385."
Not by such words only, but most practically did Mendelssohn show his friendship. With the precision of a courier and the foresight386 of a brother, he goes into the minutest details of the cost of living in the German city: "A flat, consisting of seven or eight rooms, with kitchen and appurtenances, varies from 300 to 350 thalers (£45 to £50). For that sum it should be cheerful; and, as regards the situation, should leave nothing to be desired. Servants would cost 100 to 110 thalers per annum (£15 to £16, 10s.), all depending, to be sure, on what you would require. Male servants are not much in demand here, their wages varying from 3 to 12 thalers per month (9s. to £1, 16s.). A good cook gets 40 thalers a year (£6), a housemaid 32 (£5). If you add to these a lady's-maid who could sew and make dresses, you would reach about the above-mentioned figure. Wood—that is fuel for kitchen, stoves, &c.—is dear, and may amount to 150 or 200 thalers (£22, 10s. to £18) for a family of five with servants. Rates and taxes are next to nothing; eight or ten thalers a year would cover all."
Those were indeed the good old times, when the Fatherland was not yet weighed down by blood-and-iron taxes. The most gifted member of the International Arbitration387 and Peace Association could not speak more eloquently388 than do those figures. A family of five with servants; 24s. to 30s. a year would cover all rates and taxes!
Soon, then, the suitable flat was found and my father migrated to Leipsic, entered on his new duties at the Conservatorio, and became a good citizen and ratepayer. The "intimate and uninterrupted intercourse" became a reality, and there was scarcely a day when the Mendelssohns and Moscheles did not meet. They could not do without me, however (remember I was an only son, and a well-beloved godson), so I was recalled and soon left Carlsruhe, I am afraid, with a wicked sense of ingratitude389 for all the care bestowed on me by Professor Schummelig and my other teachers.
It was terribly cold that winter, and travelling was fraught390 with difficulties, if not with dangers. Our diligence was a heavy one, and when it got stuck fast in the drifting snow, as it did more than once, the passengers had to get out, whether it was by day or by night, and literally391 put their shoulders to the wheel. It was only thanks to a very kind and provident392 "conducteur," that my much-tried little spark of vitality393 was preserved. He kept a never-to-be-forgotten straw-plaited brandy flask394 suspended from his neck by a green cord, and when my spirits flagged, his did good office.
It was midnight a day or two before Christmas when we arrived at the "Post" in Leipsic. My luggage was put on a diminutive sledge395 and dragged along the snow-bound street, I running by its side to keep body and soul together. Nobody knows till he has tried it how hot a run in the bitter cold can make one, particularly when one's heart beats at the thought of a welcome, and one's mind is all ablaze396 with the brilliant images of those one loves. There I was at last in the new home and folded in the old embrace.
Once settled, the question soon arose what was to be done with me next, and a decision was come to, to send me for a short time to the Bau Schule (School of Architecture). Those wooden bricks of my early boyhood, and the table with the many compartments397, had gone the way of all good bricks and tables, but my love for architecture remained, and I now sometimes regret that I was not to continue my studies in that direction till I had had the regular classical education; but so it was. By the time I had learnt how to stretch a sheet of paper on a drawing-board, and how to handle the compasses and T-square, and just when I was getting to know something about the price of tiles and the mixing of mortar398, I left the Bau Schule, and was entered at the Thomas Schule. That was a famous old institution. The whole upper storey of the school was occupied by a number of free pupils, the "Thomaner" choir-boys. They were celebrated399 throughout Germany as the best singers of sacred music, trained as they had originally been by no less a master than Johann Sebastian Bach, the famous "Cantor." His rooms in that building were now occupied by his successor, Hauptmann, who knew how to maintain the highest standard of excellence400 in his pupils. He was a man of learning and an erudite musician, and as such, one of the pillars of strength on which rested Leipsic's reputation, that city standing quite unrivalled as the centre towards which all musical aspirants401 gravitated.
He spoke little; but when he did, it was to say much. His criticisms could be severe, as when a new orchestral piece was being rehearsed, he said, "That sounds quite Mendelssohnian, it must be by Sterndale Bennett."
His boys sang on many occasions—at church, at weddings, funerals, or birthdays. I made great friends with some of them, and formed a regular class to teach them English; but although they were very willing pupils, I did not obtain as brilliant results in my line, as my predecessor402, Johann Sebastian Bach, had achieved in his.
Herr Magister Hohlfeld, the Professor of Mathematics, was a wonderful old man—how old no one knew. He was a figure that belonged to the middle of the last century. Clad in a long grey cloth coat, which reached to his feet, he looked a curious relic30 of bygone times; cares and calculations, worldly and scientific, had worked deep furrows403 all over his lofty forehead, and had left their impress on every feature. A rich crop of white hair fell over his shoulders; his hands on his back, and his head slightly bent404 down, he would solemnly address the boards he was treading, as he paced up and down between the two lines of school-benches; it was given to few of us to catch the words of mathematical wisdom that fell from his lips.
"The Frenchman" was another figure I look back to with interest. Not that there was anything remarkable in his appearance, but that, when judiciously405 roused to anger, he would never fail to make a fool of himself. He was not a Frenchman, but a German born and bred, who taught French, and happily for us he was so constituted, that it was a real pleasure, unchecked by any fear of possible consequences, to take advantage of his weaknesses. We did so, exercising our indiscretion whenever we had a chance. A good opportunity presented itself during the cherry season. We paved the particular part of the class-room he was in the habit of promenading406, with bad intentions in the shape of cherry-stones. After the first few steps he had taken, he stopped short, indignantly apostrophising us. "I tell you, boys, it's just a piece of impudence407 when the master treads on cherry-stones." We thought so, too, and howled with delight. At that time I had a beautiful big dog named Hector, and one afternoon I thought it might prove effective if I entered the class-room with him when the French lesson had begun. I did so, to the terror of "the Frenchman," on whom Hector had at once made a friendly rush. The dog was expelled, and then I was severely408 taken to task. "Ah," said the Professor, "you think you can take liberties with me, but I tell you, sir, you can't take liberties with such a big dog."
But it must not be thought that I was always worrying poor innocent Magisters, and rejoicing in their discomfiture409; some of my teachers I think of with gratitude. There was Stallbaum, the rector himself a great man of learning: he took great pains to cram410 us with our full share of Latin and Greek, and to make us periodically contribute to the wealth of the classical literature handed down to us, by writing essays and composing verses in the dead languages.
The love of fighting was early instilled411 into us by the works of Homer, Herodotus, Julius C?sar, and other historians; and if, as some think, my pugnacious412 instincts have not been satisfactorily developed, it was not the fault of the Rector. But he taught me to revere413 that grandest and most powerful of tragedians, Sophocles.
Nor must I forget to mention the lasting414 impression that Ovid's "Metamorphoses" made on me. The gods of mythology415 have ever remained dear to me; they are so accessible, so free and easy as they come down from Olympus quite unceremoniously, to roam about and make love; you meet them in the woods and on the waters, above ground and below ground, sometimes enjoying themselves at your expense, but mostly showing you, by their example, how you should enjoy life. To be sure the methods of a Jupiter or a Venus are quite inapplicable to the social restrictions416, and generally to the changed conditions of the present day, but they were dear old gods and goddesses all the same, who condescended to be human, and sanctified our frailties417. I, for one, am grateful to them, for they taught me the love of poetry and the poetry of love.
My first drawing-master, Herr Brauer, was a good old soul too: I owe him one of the foremost pleasures of my life, the exercise of my profession as a painter. His own work, although very clever in its way, was niggling and minute, but his ideas and teachings were broad, and whilst encouraging a taste for form which had made the study of architecture so attractive to me, he knew how to awaken a love of colour, that was eventually to lead me to the sister art.
The old masters, too, had their full share in making me long to paint. There was a certain picture by Murillo, a Madonna and Child, in the Schletter Collection which afterwards formed the nucleus418 of the Leipsic Picture Gallery; that picture so filled my imagination that I was fired by the desire to go forth and do likewise.
I have since frequently found that that kind of auch'io feeling is by no means confined to those in whom it would be justifiable419. In a masterpiece the artist betrays no effort; all looks so easy that one fancies it is easy. The lines of the composition flow so naturally, the colours strike so complete a chord, that one is deluded420 into the belief that it could not be otherwise, and that it is just what one would have done oneself had one been in the painter's place. So I was gradually settling in my mind that, as soon as I had passed my Abiturienten Examen (equivalent to our matriculation), I would, without much delay, begin to paint like the old masters.
Of Mendelssohn and the many friends, musical and otherwise, who made my stay, and later on my visits to Leipsic, interesting, I must speak afterwards. But an incident which has left a lasting impression on my mind, finds its place here, as being connected partly with my school-days and partly with my art studies.
点击收听单词发音
1 torrents | |
n.倾注;奔流( torrent的名词复数 );急流;爆发;连续不断 | |
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2 arid | |
adj.干旱的;(土地)贫瘠的 | |
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3 blotted | |
涂污( blot的过去式和过去分词 ); (用吸墨纸)吸干 | |
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4 flickering | |
adj.闪烁的,摇曳的,一闪一闪的 | |
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5 flicker | |
vi./n.闪烁,摇曳,闪现 | |
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6 lumbering | |
n.采伐林木 | |
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7 plunging | |
adj.跳进的,突进的v.颠簸( plunge的现在分词 );暴跌;骤降;突降 | |
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8 mire | |
n.泥沼,泥泞;v.使...陷于泥泞,使...陷入困境 | |
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9 vent | |
n.通风口,排放口;开衩;vt.表达,发泄 | |
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10 depicted | |
描绘,描画( depict的过去式和过去分词 ); 描述 | |
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11 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
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12 cane | |
n.手杖,细长的茎,藤条;v.以杖击,以藤编制的 | |
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13 conjure | |
v.恳求,祈求;变魔术,变戏法 | |
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14 misty | |
adj.雾蒙蒙的,有雾的 | |
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15 doomed | |
命定的 | |
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16 tumult | |
n.喧哗;激动,混乱;吵闹 | |
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17 weird | |
adj.古怪的,离奇的;怪诞的,神秘而可怕的 | |
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18 romp | |
n.欢闹;v.嬉闹玩笑 | |
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19 invoked | |
v.援引( invoke的过去式和过去分词 );行使(权利等);祈求救助;恳求 | |
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20 slung | |
抛( sling的过去式和过去分词 ); 吊挂; 遣送; 押往 | |
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21 laurels | |
n.桂冠,荣誉 | |
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22 encumbrance | |
n.妨碍物,累赘 | |
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23 stimulate | |
vt.刺激,使兴奋;激励,使…振奋 | |
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24 recollect | |
v.回忆,想起,记起,忆起,记得 | |
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25 eloquent | |
adj.雄辩的,口才流利的;明白显示出的 | |
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26 conscientiously | |
adv.凭良心地;认真地,负责尽职地;老老实实 | |
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27 shrines | |
圣地,圣坛,神圣场所( shrine的名词复数 ) | |
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28 shrine | |
n.圣地,神龛,庙;v.将...置于神龛内,把...奉为神圣 | |
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29 relics | |
[pl.]n.遗物,遗迹,遗产;遗体,尸骸 | |
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30 relic | |
n.神圣的遗物,遗迹,纪念物 | |
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31 proceeding | |
n.行动,进行,(pl.)会议录,学报 | |
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32 akin | |
adj.同族的,类似的 | |
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33 continental | |
adj.大陆的,大陆性的,欧洲大陆的 | |
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34 impelled | |
v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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35 accentuated | |
v.重读( accentuate的过去式和过去分词 );使突出;使恶化;加重音符号于 | |
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36 ail | |
v.生病,折磨,苦恼 | |
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37 exponents | |
n.倡导者( exponent的名词复数 );说明者;指数;能手 | |
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38 Christian | |
adj.基督教徒的;n.基督教徒 | |
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39 meek | |
adj.温顺的,逆来顺受的 | |
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40 reassured | |
adj.使消除疑虑的;使放心的v.再保证,恢复信心( reassure的过去式和过去分词) | |
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41 suavely | |
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42 delightful | |
adj.令人高兴的,使人快乐的 | |
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43 pounces | |
v.突然袭击( pounce的第三人称单数 );猛扑;一眼看出;抓住机会(进行抨击) | |
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44 pounce | |
n.猛扑;v.猛扑,突然袭击,欣然同意 | |
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45 cascades | |
倾泻( cascade的名词复数 ); 小瀑布(尤指一连串瀑布中的一支); 瀑布状物; 倾泻(或涌出)的东西 | |
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46 cascade | |
n.小瀑布,喷流;层叠;vi.成瀑布落下 | |
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47 lavished | |
v.过分给予,滥施( lavish的过去式和过去分词 ) | |
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48 vile | |
adj.卑鄙的,可耻的,邪恶的;坏透的 | |
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49 annoyance | |
n.恼怒,生气,烦恼 | |
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50 contrive | |
vt.谋划,策划;设法做到;设计,想出 | |
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51 previously | |
adv.以前,先前(地) | |
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52 juvenile | |
n.青少年,少年读物;adj.青少年的,幼稚的 | |
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53 faculties | |
n.能力( faculty的名词复数 );全体教职员;技巧;院 | |
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54 enjoyment | |
n.乐趣;享有;享用 | |
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55 awe | |
n.敬畏,惊惧;vt.使敬畏,使惊惧 | |
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56 wholesome | |
adj.适合;卫生的;有益健康的;显示身心健康的 | |
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57 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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58 whoop | |
n.大叫,呐喊,喘息声;v.叫喊,喘息 | |
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59 wield | |
vt.行使,运用,支配;挥,使用(武器等) | |
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60 baton | |
n.乐队用指挥杖 | |
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61 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 ) | |
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62 whooped | |
叫喊( whoop的过去式和过去分词 ); 高声说; 唤起 | |
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63 temperament | |
n.气质,性格,性情 | |
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64 passionate | |
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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65 maternal | |
adj.母亲的,母亲般的,母系的,母方的 | |
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66 pacify | |
vt.使(某人)平静(或息怒);抚慰 | |
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67 shroud | |
n.裹尸布,寿衣;罩,幕;vt.覆盖,隐藏 | |
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68 rigid | |
adj.严格的,死板的;刚硬的,僵硬的 | |
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69 corpse | |
n.尸体,死尸 | |
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70 shutters | |
百叶窗( shutter的名词复数 ); (照相机的)快门 | |
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71 dismal | |
adj.阴沉的,凄凉的,令人忧郁的,差劲的 | |
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72 wail | |
vt./vi.大声哀号,恸哭;呼啸,尖啸 | |
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73 disapproval | |
n.反对,不赞成 | |
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74 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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75 epithet | |
n.(用于褒贬人物等的)表述形容词,修饰语 | |
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76 epithets | |
n.(表示性质、特征等的)词语( epithet的名词复数 ) | |
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77 distinguished | |
adj.卓越的,杰出的,著名的 | |
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78 entrust | |
v.信赖,信托,交托 | |
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79 corroborative | |
adj.确证(性)的,确凿的 | |
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80 testimony | |
n.证词;见证,证明 | |
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81 dubbed | |
v.给…起绰号( dub的过去式和过去分词 );把…称为;配音;复制 | |
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82 appellation | |
n.名称,称呼 | |
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83 precisely | |
adv.恰好,正好,精确地,细致地 | |
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84 opprobrious | |
adj.可耻的,辱骂的 | |
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85 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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86 landmarks | |
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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87 degenerate | |
v.退步,堕落;adj.退步的,堕落的;n.堕落者 | |
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88 sprawling | |
adj.蔓生的,不规则地伸展的v.伸开四肢坐[躺]( sprawl的现在分词 );蔓延;杂乱无序地拓展;四肢伸展坐着(或躺着) | |
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89 provocation | |
n.激怒,刺激,挑拨,挑衅的事物,激怒的原因 | |
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90 adroitness | |
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91 retaliation | |
n.报复,反击 | |
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92 alleys | |
胡同,小巷( alley的名词复数 ); 小径 | |
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93 initiated | |
n. 创始人 adj. 新加入的 vt. 开始,创始,启蒙,介绍加入 | |
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94 warfare | |
n.战争(状态);斗争;冲突 | |
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95 specially | |
adv.特定地;特殊地;明确地 | |
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96 legitimate | |
adj.合法的,合理的,合乎逻辑的;v.使合法 | |
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97 clenched | |
v.紧握,抓紧,咬紧( clench的过去式和过去分词 ) | |
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98 savages | |
未开化的人,野蛮人( savage的名词复数 ) | |
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99 coffin | |
n.棺材,灵柩 | |
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100 nominally | |
在名义上,表面地; 应名儿 | |
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101 goading | |
v.刺激( goad的现在分词 );激励;(用尖棒)驱赶;驱使(或怂恿、刺激)某人 | |
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102 slaughter | |
n.屠杀,屠宰;vt.屠杀,宰杀 | |
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103 massacre | |
n.残杀,大屠杀;v.残杀,集体屠杀 | |
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104 graphic | |
adj.生动的,形象的,绘画的,文字的,图表的 | |
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105 euphonious | |
adj.好听的,悦耳的,和谐的 | |
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106 battered | |
adj.磨损的;v.连续猛击;磨损 | |
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107 solicitude | |
n.焦虑 | |
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108 mansion | |
n.大厦,大楼;宅第 | |
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109 illustrated | |
adj. 有插图的,列举的 动词illustrate的过去式和过去分词 | |
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110 strand | |
vt.使(船)搁浅,使(某人)困于(某地) | |
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111 poker | |
n.扑克;vt.烙制 | |
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112 savagely | |
adv. 野蛮地,残酷地 | |
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113 brandished | |
v.挥舞( brandish的过去式和过去分词 );炫耀 | |
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114 lairs | |
n.(野兽的)巢穴,窝( lair的名词复数 );(人的)藏身处 | |
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115 tempting | |
a.诱人的, 吸引人的 | |
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116 innate | |
adj.天生的,固有的,天赋的 | |
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117 concerto | |
n.协奏曲 | |
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118 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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119 royalty | |
n.皇家,皇族 | |
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120 plebeian | |
adj.粗俗的;平民的;n.平民;庶民 | |
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121 arcade | |
n.拱廊;(一侧或两侧有商店的)通道 | |
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122 wreck | |
n.失事,遇难;沉船;vt.(船等)失事,遇难 | |
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123 wrecked | |
adj.失事的,遇难的 | |
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124 irresistibly | |
adv.无法抵抗地,不能自持地;极为诱惑人地 | |
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125 imps | |
n.(故事中的)小恶魔( imp的名词复数 );小魔鬼;小淘气;顽童 | |
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126 recipient | |
a.接受的,感受性强的 n.接受者,感受者,容器 | |
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127 confided | |
v.吐露(秘密,心事等)( confide的过去式和过去分词 );(向某人)吐露(隐私、秘密等) | |
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128 wasteful | |
adj.(造成)浪费的,挥霍的 | |
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129 expenditure | |
n.(时间、劳力、金钱等)支出;使用,消耗 | |
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130 forth | |
adv.向前;向外,往外 | |
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131 wiles | |
n.(旨在欺骗或吸引人的)诡计,花招;欺骗,欺诈( wile的名词复数 ) | |
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132 radically | |
ad.根本地,本质地 | |
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133 craving | |
n.渴望,热望 | |
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134 revel | |
vi.狂欢作乐,陶醉;n.作乐,狂欢 | |
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135 exult | |
v.狂喜,欢腾;欢欣鼓舞 | |
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136 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
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137 epidemic | |
n.流行病;盛行;adj.流行性的,流传极广的 | |
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138 mischief | |
n.损害,伤害,危害;恶作剧,捣蛋,胡闹 | |
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139 multiplication | |
n.增加,增多,倍增;增殖,繁殖;乘法 | |
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140 hampered | |
妨碍,束缚,限制( hamper的过去式和过去分词 ) | |
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141 meddlesome | |
adj.爱管闲事的 | |
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142 sanitary | |
adj.卫生方面的,卫生的,清洁的,卫生的 | |
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143 inspectors | |
n.检查员( inspector的名词复数 );(英国公共汽车或火车上的)查票员;(警察)巡官;检阅官 | |
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144 malignant | |
adj.恶性的,致命的;恶意的,恶毒的 | |
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145 thoroughly | |
adv.完全地,彻底地,十足地 | |
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146 virulent | |
adj.有毒的,有恶意的,充满敌意的 | |
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147 destined | |
adj.命中注定的;(for)以…为目的地的 | |
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148 wrestle | |
vi.摔跤,角力;搏斗;全力对付 | |
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149 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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150 scythe | |
n. 长柄的大镰刀,战车镰; v. 以大镰刀割 | |
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151 wrestled | |
v.(与某人)搏斗( wrestle的过去式和过去分词 );扭成一团;扭打;(与…)摔跤 | |
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152 averse | |
adj.厌恶的;反对的,不乐意的 | |
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153 disparage | |
v.贬抑,轻蔑 | |
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154 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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155 formerly | |
adv.从前,以前 | |
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156 bumptious | |
adj.傲慢的 | |
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157 hawked | |
通过叫卖主动兜售(hawk的过去式与过去分词形式) | |
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158 enunciate | |
v.发音;(清楚地)表达 | |
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159 inflicted | |
把…强加给,使承受,遭受( inflict的过去式和过去分词 ) | |
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160 awaken | |
vi.醒,觉醒;vt.唤醒,使觉醒,唤起,激起 | |
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161 muster | |
v.集合,收集,鼓起,激起;n.集合,检阅,集合人员,点名册 | |
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162 concealed | |
a.隐藏的,隐蔽的 | |
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163 transparent | |
adj.明显的,无疑的;透明的 | |
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164 veneer | |
n.(墙上的)饰面,虚饰 | |
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165 amiability | |
n.和蔼可亲的,亲切的,友善的 | |
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166 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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167 revelled | |
v.作乐( revel的过去式和过去分词 );狂欢;着迷;陶醉 | |
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168 wholesale | |
n.批发;adv.以批发方式;vt.批发,成批出售 | |
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169 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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170 crest | |
n.顶点;饰章;羽冠;vt.达到顶点;vi.形成浪尖 | |
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171 costly | |
adj.昂贵的,价值高的,豪华的 | |
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172 ushered | |
v.引,领,陪同( usher的过去式和过去分词 ) | |
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173 renounce | |
v.放弃;拒绝承认,宣布与…断绝关系 | |
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174 conflagration | |
n.建筑物或森林大火 | |
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175 crumbling | |
adj.摇摇欲坠的 | |
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176 masonry | |
n.砖土建筑;砖石 | |
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177 charred | |
v.把…烧成炭( char的过去式);烧焦 | |
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178 fascination | |
n.令人着迷的事物,魅力,迷恋 | |
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179 deplored | |
v.悲叹,痛惜,强烈反对( deplore的过去式和过去分词 ) | |
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180 admiration | |
n.钦佩,赞美,羡慕 | |
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181 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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182 tangled | |
adj. 纠缠的,紊乱的 动词tangle的过去式和过去分词 | |
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183 wreckage | |
n.(失事飞机等的)残骸,破坏,毁坏 | |
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184 devastation | |
n.毁坏;荒废;极度震惊或悲伤 | |
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185 neatly | |
adv.整洁地,干净地,灵巧地,熟练地 | |
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186 besmirched | |
v.弄脏( besmirch的过去式和过去分词 );玷污;丑化;糟蹋(名誉等) | |
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187 predilection | |
n.偏好 | |
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188 fervent | |
adj.热的,热烈的,热情的 | |
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189 disciple | |
n.信徒,门徒,追随者 | |
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190 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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191 peripatetic | |
adj.漫游的,逍遥派的,巡回的 | |
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192 bass | |
n.男低音(歌手);低音乐器;低音大提琴 | |
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193 Oxford | |
n.牛津(英国城市) | |
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194 premises | |
n.建筑物,房屋 | |
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195 contingent | |
adj.视条件而定的;n.一组,代表团,分遣队 | |
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196 sketch | |
n.草图;梗概;素描;v.素描;概述 | |
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197 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
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198 personalities | |
n. 诽谤,(对某人容貌、性格等所进行的)人身攻击; 人身攻击;人格, 个性, 名人( personality的名词复数 ) | |
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199 transcribing | |
(用不同的录音手段)转录( transcribe的现在分词 ); 改编(乐曲)(以适应他种乐器或声部); 抄写; 用音标标出(声音) | |
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200 originality | |
n.创造力,独创性;新颖 | |
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201 chastise | |
vt.责骂,严惩 | |
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202 delinquent | |
adj.犯法的,有过失的;n.违法者 | |
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203 hacking | |
n.非法访问计算机系统和数据库的活动 | |
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204 jug | |
n.(有柄,小口,可盛水等的)大壶,罐,盂 | |
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205 canes | |
n.(某些植物,如竹或甘蔗的)茎( cane的名词复数 );(用于制作家具等的)竹竿;竹杖 | |
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206 chaff | |
v.取笑,嘲笑;n.谷壳 | |
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207 musing | |
n. 沉思,冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式 | |
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208 ails | |
v.生病( ail的第三人称单数 );感到不舒服;处境困难;境况不佳 | |
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209 remarkably | |
ad.不同寻常地,相当地 | |
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210 philology | |
n.语言学;语文学 | |
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211 tune | |
n.调子;和谐,协调;v.调音,调节,调整 | |
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212 exertions | |
n.努力( exertion的名词复数 );费力;(能力、权力等的)运用;行使 | |
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213 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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214 amassed | |
v.积累,积聚( amass的过去式和过去分词 ) | |
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215 specimen | |
n.样本,标本 | |
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216 butt | |
n.笑柄;烟蒂;枪托;臀部;v.用头撞或顶 | |
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217 satire | |
n.讽刺,讽刺文学,讽刺作品 | |
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218 stipulated | |
vt.& vi.规定;约定adj.[法]合同规定的 | |
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219 derided | |
v.取笑,嘲笑( deride的过去式和过去分词 ) | |
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220 defunct | |
adj.死亡的;已倒闭的 | |
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221 jeers | |
n.操纵帆桁下部(使其上下的)索具;嘲讽( jeer的名词复数 )v.嘲笑( jeer的第三人称单数 ) | |
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222 galled | |
v.使…擦痛( gall的过去式和过去分词 );擦伤;烦扰;侮辱 | |
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223 maim | |
v.使残废,使不能工作,使伤残 | |
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224 proceedings | |
n.进程,过程,议程;诉讼(程序);公报 | |
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225 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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226 hooted | |
(使)作汽笛声响,作汽车喇叭声( hoot的过去式和过去分词 ) | |
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227 impunity | |
n.(惩罚、损失、伤害等的)免除 | |
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228 caterpillar | |
n.毛虫,蝴蝶的幼虫 | |
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229 rustic | |
adj.乡村的,有乡村特色的;n.乡下人,乡巴佬 | |
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230 caterpillars | |
n.毛虫( caterpillar的名词复数 );履带 | |
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231 bestowed | |
赠给,授予( bestow的过去式和过去分词 ) | |
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232 bonnets | |
n.童帽( bonnet的名词复数 );(烟囱等的)覆盖物;(苏格兰男子的)无边呢帽;(女子戴的)任何一种帽子 | |
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233 worthies | |
应得某事物( worthy的名词复数 ); 值得做某事; 可尊敬的; 有(某人或事物)的典型特征 | |
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234 rumour | |
n.谣言,谣传,传闻 | |
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235 ascertained | |
v.弄清,确定,查明( ascertain的过去式和过去分词 ) | |
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236 discreet | |
adj.(言行)谨慎的;慎重的;有判断力的 | |
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237 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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238 prodigies | |
n.奇才,天才(尤指神童)( prodigy的名词复数 ) | |
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239 prematurely | |
adv.过早地,贸然地 | |
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240 mightily | |
ad.强烈地;非常地 | |
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241 inflicting | |
把…强加给,使承受,遭受( inflict的现在分词 ) | |
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242 maturity | |
n.成熟;完成;(支票、债券等)到期 | |
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243 scattering | |
n.[物]散射;散乱,分散;在媒介质中的散播adj.散乱的;分散在不同范围的;广泛扩散的;(选票)数量分散的v.散射(scatter的ing形式);散布;驱散 | |
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244 scatters | |
v.(使)散开, (使)分散,驱散( scatter的第三人称单数 );撒 | |
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245 accentuating | |
v.重读( accentuate的现在分词 );使突出;使恶化;加重音符号于 | |
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246 velvet | |
n.丝绒,天鹅绒;adj.丝绒制的,柔软的 | |
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247 velvety | |
adj. 像天鹅绒的, 轻软光滑的, 柔软的 | |
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248 manifestations | |
n.表示,显示(manifestation的复数形式) | |
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249 outspoken | |
adj.直言无讳的,坦率的,坦白无隐的 | |
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250 monarch | |
n.帝王,君主,最高统治者 | |
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251 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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252 recital | |
n.朗诵,独奏会,独唱会 | |
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253 triumphantly | |
ad.得意洋洋地;得胜地;成功地 | |
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254 joint | |
adj.联合的,共同的;n.关节,接合处;v.连接,贴合 | |
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255 improvising | |
即兴创作(improvise的现在分词形式) | |
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256 growl | |
v.(狗等)嗥叫,(炮等)轰鸣;n.嗥叫,轰鸣 | |
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257 allegro | |
adj. 快速而活泼的;n.快板;adv.活泼地 | |
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258 rehearsal | |
n.排练,排演;练习 | |
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259 sketched | |
v.草拟(sketch的过去式与过去分词形式) | |
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260 improvise | |
v.即兴创作;临时准备,临时凑成 | |
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261 elicited | |
引出,探出( elicit的过去式和过去分词 ) | |
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262 liberated | |
a.无拘束的,放纵的 | |
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263 embroidered | |
adj.绣花的 | |
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264 illuminated | |
adj.被照明的;受启迪的 | |
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265 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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266 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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267 illustrating | |
给…加插图( illustrate的现在分词 ); 说明; 表明; (用示例、图画等)说明 | |
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268 arabesque | |
n.阿拉伯式花饰;adj.阿拉伯式图案的 | |
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269 artistically | |
adv.艺术性地 | |
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270 entrusted | |
v.委托,托付( entrust的过去式和过去分词 ) | |
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271 interfered | |
v.干预( interfere的过去式和过去分词 );调停;妨碍;干涉 | |
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272 upwards | |
adv.向上,在更高处...以上 | |
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273 contrives | |
(不顾困难地)促成某事( contrive的第三人称单数 ); 巧妙地策划,精巧地制造(如机器); 设法做到 | |
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274 perplexed | |
adj.不知所措的 | |
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275 portray | |
v.描写,描述;画(人物、景象等) | |
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276 discretion | |
n.谨慎;随意处理 | |
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277 recording | |
n.录音,记录 | |
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278 diminutive | |
adj.小巧可爱的,小的 | |
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279 fiddle | |
n.小提琴;vi.拉提琴;不停拨弄,乱动 | |
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280 fiddles | |
n.小提琴( fiddle的名词复数 );欺诈;(需要运用手指功夫的)细巧活动;当第二把手v.伪造( fiddle的第三人称单数 );篡改;骗取;修理或稍作改动 | |
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281 trumpets | |
喇叭( trumpet的名词复数 ); 小号; 喇叭形物; (尤指)绽开的水仙花 | |
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282 blessing | |
n.祈神赐福;祷告;祝福,祝愿 | |
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283 flutes | |
长笛( flute的名词复数 ); 细长香槟杯(形似长笛) | |
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284 cymbals | |
pl.铙钹 | |
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285 alluding | |
提及,暗指( allude的现在分词 ) | |
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286 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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287 blessings | |
n.(上帝的)祝福( blessing的名词复数 );好事;福分;因祸得福 | |
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288 circuitous | |
adj.迂回的路的,迂曲的,绕行的 | |
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289 augury | |
n.预言,征兆,占卦 | |
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290 celebrities | |
n.(尤指娱乐界的)名人( celebrity的名词复数 );名流;名声;名誉 | |
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291 slumber | |
n.睡眠,沉睡状态 | |
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292 transcripts | |
n.抄本( transcript的名词复数 );转写本;文字本;副本 | |
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293 peruses | |
v.读(某篇文字)( peruse的第三人称单数 );(尤指)细阅;审阅;匆匆读或心不在焉地浏览(某篇文字) | |
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294 harmonious | |
adj.和睦的,调和的,和谐的,协调的 | |
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295 rustle | |
v.沙沙作响;偷盗(牛、马等);n.沙沙声声 | |
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296 unison | |
n.步调一致,行动一致 | |
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297 sprightly | |
adj.愉快的,活泼的 | |
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298 discreetly | |
ad.(言行)审慎地,慎重地 | |
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299 deferentially | |
adv.表示敬意地,谦恭地 | |
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300 rustling | |
n. 瑟瑟声,沙沙声 adj. 发沙沙声的 | |
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301 hazy | |
adj.有薄雾的,朦胧的;不肯定的,模糊的 | |
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302 stature | |
n.(高度)水平,(高度)境界,身高,身材 | |
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303 vociferous | |
adj.喧哗的,大叫大嚷的 | |
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304 ignominious | |
adj.可鄙的,不光彩的,耻辱的 | |
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305 memorable | |
adj.值得回忆的,难忘的,特别的,显著的 | |
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306 romps | |
n.无忧无虑,快活( romp的名词复数 )v.嬉笑玩闹( romp的第三人称单数 );(尤指在赛跑或竞选等中)轻易获胜 | |
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307 commiseration | |
n.怜悯,同情 | |
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308 iniquitous | |
adj.不公正的;邪恶的;高得出奇的 | |
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309 spasms | |
n.痉挛( spasm的名词复数 );抽搐;(能量、行为等的)突发;发作 | |
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310 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) | |
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311 amicable | |
adj.和平的,友好的;友善的 | |
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312 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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313 irresistible | |
adj.非常诱人的,无法拒绝的,无法抗拒的 | |
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314 apocryphal | |
adj.假冒的,虚假的 | |
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315 ponderous | |
adj.沉重的,笨重的,(文章)冗长的 | |
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316 intercourse | |
n.性交;交流,交往,交际 | |
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317 armour | |
(=armor)n.盔甲;装甲部队 | |
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318 graceful | |
adj.优美的,优雅的;得体的 | |
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319 peculiarities | |
n. 特质, 特性, 怪癖, 古怪 | |
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320 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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321 deviations | |
背离,偏离( deviation的名词复数 ); 离经叛道的行为 | |
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322 impresario | |
n.歌剧团的经理人;乐团指挥 | |
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323 hitch | |
v.免费搭(车旅行);系住;急提;n.故障;急拉 | |
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324 maze | |
n.迷宫,八阵图,混乱,迷惑 | |
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325 biding | |
v.等待,停留( bide的现在分词 );居住;(过去式用bided)等待;面临 | |
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326 tenor | |
n.男高音(歌手),次中音(乐器),要旨,大意 | |
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327 abruptly | |
adv.突然地,出其不意地 | |
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328 exultation | |
n.狂喜,得意 | |
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329 dangling | |
悬吊着( dangle的现在分词 ); 摆动不定; 用某事物诱惑…; 吊胃口 | |
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330 uncommon | |
adj.罕见的,非凡的,不平常的 | |
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331 untoward | |
adj.不利的,不幸的,困难重重的 | |
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332 prey | |
n.被掠食者,牺牲者,掠食;v.捕食,掠夺,折磨 | |
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333 catastrophe | |
n.大灾难,大祸 | |
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334 condescended | |
屈尊,俯就( condescend的过去式和过去分词 ); 故意表示和蔼可亲 | |
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335 pickpockets | |
n.扒手( pickpocket的名词复数 ) | |
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336 converging | |
adj.收敛[缩]的,会聚的,趋同的v.(线条、运动的物体等)会于一点( converge的现在分词 );(趋于)相似或相同;人或车辆汇集;聚集 | |
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337 abode | |
n.住处,住所 | |
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338 spacious | |
adj.广阔的,宽敞的 | |
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339 quaint | |
adj.古雅的,离奇有趣的,奇怪的 | |
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340 situated | |
adj.坐落在...的,处于某种境地的 | |
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341 fictitious | |
adj.虚构的,假设的;空头的 | |
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342 pedantic | |
adj.卖弄学问的;迂腐的 | |
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343 acquiesced | |
v.默认,默许( acquiesce的过去式和过去分词 ) | |
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344 coveted | |
adj.令人垂涎的;垂涎的,梦寐以求的v.贪求,觊觎(covet的过去分词);垂涎;贪图 | |
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345 knotty | |
adj.有结的,多节的,多瘤的,棘手的 | |
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346 dismantled | |
拆开( dismantle的过去式和过去分词 ); 拆卸; 废除; 取消 | |
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347 squinted | |
斜视( squint的过去式和过去分词 ); 眯着眼睛; 瞟; 从小孔或缝隙里看 | |
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348 squint | |
v. 使变斜视眼, 斜视, 眯眼看, 偏移, 窥视; n. 斜视, 斜孔小窗; adj. 斜视的, 斜的 | |
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349 distressingly | |
adv. 令人苦恼地;悲惨地 | |
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350 obliquity | |
n.倾斜度 | |
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351 winked | |
v.使眼色( wink的过去式和过去分词 );递眼色(表示友好或高兴等);(指光)闪烁;闪亮 | |
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352 justified | |
a.正当的,有理的 | |
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353 drudges | |
n.做苦工的人,劳碌的人( drudge的名词复数 ) | |
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354 delusion | |
n.谬见,欺骗,幻觉,迷惑 | |
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355 vagaries | |
n.奇想( vagary的名词复数 );异想天开;异常行为;难以预测的情况 | |
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356 incisive | |
adj.敏锐的,机敏的,锋利的,切入的 | |
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357 applied | |
adj.应用的;v.应用,适用 | |
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358 evoked | |
[医]诱发的 | |
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359 conjugated | |
adj.共轭的,成对的v.列出(动词的)变化形式( conjugate的过去式和过去分词 );结合,联合,熔化 | |
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360 locus | |
n.中心 | |
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361 civilisation | |
n.文明,文化,开化,教化 | |
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362 dissecting | |
v.解剖(动物等)( dissect的现在分词 );仔细分析或研究 | |
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363 exuberant | |
adj.充满活力的;(植物)繁茂的 | |
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364 prolific | |
adj.丰富的,大量的;多产的,富有创造力的 | |
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365 quotations | |
n.引用( quotation的名词复数 );[商业]行情(报告);(货物或股票的)市价;时价 | |
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366 inhaling | |
v.吸入( inhale的现在分词 ) | |
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367 maiden | |
n.少女,处女;adj.未婚的,纯洁的,无经验的 | |
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368 paternal | |
adj.父亲的,像父亲的,父系的,父方的 | |
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369 yearning | |
a.渴望的;向往的;怀念的 | |
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370 perpendiculars | |
n.垂直的,成直角的( perpendicular的名词复数 );直立的 | |
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371 moss | |
n.苔,藓,地衣 | |
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372 winking | |
n.瞬眼,目语v.使眼色( wink的现在分词 );递眼色(表示友好或高兴等);(指光)闪烁;闪亮 | |
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373 joyous | |
adj.充满快乐的;令人高兴的 | |
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374 pensive | |
a.沉思的,哀思的,忧沉的 | |
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375 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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376 flirt | |
v.调情,挑逗,调戏;n.调情者,卖俏者 | |
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377 chirping | |
鸟叫,虫鸣( chirp的现在分词 ) | |
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378 flirtation | |
n.调情,调戏,挑逗 | |
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379 vouchsafed | |
v.给予,赐予( vouchsafe的过去式和过去分词 );允诺 | |
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380 founders | |
n.创始人( founder的名词复数 ) | |
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381 hesitation | |
n.犹豫,踌躇 | |
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382 pang | |
n.剧痛,悲痛,苦闷 | |
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383 gratitude | |
adj.感激,感谢 | |
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384 tangible | |
adj.有形的,可触摸的,确凿的,实际的 | |
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385 complexion | |
n.肤色;情况,局面;气质,性格 | |
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386 foresight | |
n.先见之明,深谋远虑 | |
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387 arbitration | |
n.调停,仲裁 | |
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388 eloquently | |
adv. 雄辩地(有口才地, 富于表情地) | |
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389 ingratitude | |
n.忘恩负义 | |
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390 fraught | |
adj.充满…的,伴有(危险等)的;忧虑的 | |
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391 literally | |
adv.照字面意义,逐字地;确实 | |
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392 provident | |
adj.为将来做准备的,有先见之明的 | |
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393 vitality | |
n.活力,生命力,效力 | |
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394 flask | |
n.瓶,火药筒,砂箱 | |
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395 sledge | |
n.雪橇,大锤;v.用雪橇搬运,坐雪橇往 | |
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396 ablaze | |
adj.着火的,燃烧的;闪耀的,灯火辉煌的 | |
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397 compartments | |
n.间隔( compartment的名词复数 );(列车车厢的)隔间;(家具或设备等的)分隔间;隔层 | |
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398 mortar | |
n.灰浆,灰泥;迫击炮;v.把…用灰浆涂接合 | |
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399 celebrated | |
adj.有名的,声誉卓著的 | |
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400 excellence | |
n.优秀,杰出,(pl.)优点,美德 | |
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401 aspirants | |
n.有志向或渴望获得…的人( aspirant的名词复数 )v.渴望的,有抱负的,追求名誉或地位的( aspirant的第三人称单数 );有志向或渴望获得…的人 | |
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402 predecessor | |
n.前辈,前任 | |
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403 furrows | |
n.犁沟( furrow的名词复数 );(脸上的)皱纹v.犁田,开沟( furrow的第三人称单数 ) | |
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404 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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405 judiciously | |
adv.明断地,明智而审慎地 | |
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406 promenading | |
v.兜风( promenade的现在分词 ) | |
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407 impudence | |
n.厚颜无耻;冒失;无礼 | |
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408 severely | |
adv.严格地;严厉地;非常恶劣地 | |
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409 discomfiture | |
n.崩溃;大败;挫败;困惑 | |
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410 cram | |
v.填塞,塞满,临时抱佛脚,为考试而学习 | |
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411 instilled | |
v.逐渐使某人获得(某种可取的品质),逐步灌输( instill的过去式和过去分词 ) | |
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412 pugnacious | |
adj.好斗的 | |
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413 revere | |
vt.尊崇,崇敬,敬畏 | |
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414 lasting | |
adj.永久的,永恒的;vbl.持续,维持 | |
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415 mythology | |
n.神话,神话学,神话集 | |
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416 restrictions | |
约束( restriction的名词复数 ); 管制; 制约因素; 带限制性的条件(或规则) | |
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417 frailties | |
n.脆弱( frailty的名词复数 );虚弱;(性格或行为上的)弱点;缺点 | |
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418 nucleus | |
n.核,核心,原子核 | |
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419 justifiable | |
adj.有理由的,无可非议的 | |
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420 deluded | |
v.欺骗,哄骗( delude的过去式和过去分词 ) | |
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