American Poetry

We are not yet immune from the weakness of looking into the back pages to see what the other men have said; and on this occasion we received a salutary shock from the critic of the Detroit News, who informs us that Mr Aiken, 'despite the fact that he is one of the youngest and the newest, having made his debut¹ less than four years ago, … demonstrates … that he is eminently² capable of taking a solo part with Edgar Lee Masters, Amy Lowell, James Oppenheim, Vachel Lindsay, and Edwin Arlington Robinson.' The shock is two-fold. In a single sentence we are in danger of being convicted of ignorance, and, where we can claim a little knowledge, we plead guilty; we know nothing of either Mr Oppenheim or Mr Robinson. This very ignorance makes us cautious where we have a little knowledge We know something of Mr Lindsay, something of Mr Masters, and a good deal of Miss Lowell, who has long been a familiar figure in our anthologies of revolt; and we cannot understand on what principle they are assembled together. Miss Lowell is, we are persuaded, a negligible poet, with a tenuous³ and commonplace impulse to write which she teases out into stupid 'originalities.' Of the other two gentlemen we have seen nothing which convinces us that they are poets, but also nothing which convinces us that they may not be.

Moreover, we can understand how Mr Aiken might be classed with them. All three have in common what we may call creative energy. They are all facile, all obviously eager to say something, though it is not at all obvious what they desire to say, all with an instinctive⁴ conviction that whatever it is it cannot be said in the old ways. Not one of them produces the certainty that this conviction is really justified⁵ or that he has tested it; not one has written lines which have the doom⁶ 'thus and not otherwise' engraved⁷ upon their substance; not one has proved that he is capable of addressing himself to the central problem of poetry, no matter what technique be employed—how to achieve a concentrated unity⁸ of ?sthetic impression. They are all diffuse⁹; they seem to be content to lead a hundred indecisive attacks upon reality at once rather than to persevere¹⁰ and carry a single one to a final issue; they are all multiple, careless, and slipshod—and they are all interesting.

They are extremely interesting. For one thing, they have all achieved what is, from whatever angle one looks at it, a very remarkable¹¹ success. Very few people, initiate¹² or profane¹³, can have opened Mr Lindsay's 'Congo' or Mr Masters's 'Spoon River Anthology' or Mr Aiken's 'Jig¹⁴ of Forslin' without being impelled¹⁵ to read on to the end. That does not very often happen with readers of a book which professes¹⁶ to be poetry save in the case of the thronging¹⁷ admirers of Miss Ella Wheeler Wilcox, and their similars. There is, however, another case more exactly in point, namely, that of Mr Kipling. With Mr Kipling our three American poets have much in common, though the community must not be unduly¹⁸ pressed. Their most obvious similarity is the prominence¹⁹ into which they throw the novel interest in their verse. They are, or at moments they seem to be, primarily tellers²⁰ of stories. We will not dogmatise and say that the attempt is illegitimate; we prefer to insist that to tell a story in poetry and keep it poetry is a herculean task. It would indeed be doubly rash to dogmatise, for our three poets desire to tell very different stories, and we are by no means sure that the emotional subtleties²¹ which Mr Aiken in particular aims at capturing are capable of being exactly expressed in prose.

Since Mr Aiken is the corpus vile²² before us we will henceforward confine ourselves to him, though we premise²³ that in spite of his very sufficient originality²⁴ he is characteristic of what is most worth attention in modern American poetry. Proceeding²⁵ then, we find another point of contact between him and Mr Kipling, more important perhaps than the former, and certainly more dangerous. Both find it apparently²⁶ impossible to stem the uprush of rhetoric²⁷. Perhaps they do not try to; but we will be charitable—after all, there is enough good in either of them to justify²⁸ charity—and assume that the willingness of the spirit gives way to the weakness of the flesh. Of course we all know about Mr Kipling's rhetoric; it is a kind of emanation of the spatial²⁹ immensities with which he deals—Empires, the Seven Seas, from Dublin to Diarbekir. Mr Aiken has taken quite another province for his own; he is an introspective psychologist. But like Mr Kipling he prefers big business. His inward eye roves over immensities at least as vast as Mr Kipling's outward. In 'The Charnel Rose and Other Poems' this appetite for the illimitable inane³⁰ of introspection seems to have gained upon him. There is much writing of this kind:—

  'Dusk, withdrawing to a single lamplight
  At the end of an infinite street—
  He saw his ghost walk down that street for ever,
  And heard the eternal rhythm of his feet.
  And if he should reach at last that final gutter³¹,
  To-day, or to-morrow,
  Or, maybe, after the death of himself and time;
  And stand at the ultimate curbstone by the stars,
  Above dead matches, and smears³² of paper, and slime;
  Would the secret of his desire
  Blossom out of the dark with a burst of fire?
  Or would he hear the eternal arc-lamps sputter³³,
  Only that; and see old shadows crawl;
  And find the stars were street lamps after all?

  Music, quivering to a point of silence,
  Drew his heart down over the edge of the world….'

It is dangerous for a poet to conjure³⁴ up infinities³⁵ unless he has made adequate preparation for keeping them in control when they appear. We are afraid that Mr Aiken is almost a slave of the spirits he has evoked³⁶. Dostoevsky's devil wore a shabby frock-coat, and was probably managing-clerk to a solicitor³⁷ at twenty-five shillings a week. Mr Aiken's incubus³⁸ is, unfortunately, devoid³⁹ of definition; he is protean⁴⁰ and unsatisfactory.

  'I am confused in webs and knots of scarlet⁴¹
  Spun⁴² from the darkness;
  Or shuttled from the mouths of thirsty spiders.

  Madness for red! I devour⁴³ the leaves of autumn.
  I tire of the green of the world.
  I am myself a mouth for blood….'

Perhaps we do wrong to ask ourselves whether this and similar things mean, exactly, anything? Mr Aiken warns us that his intention has been to use the idea—'the impulse which sends us from one dream or ideal to another, always disillusioned⁴⁴, always creating for adoration⁴⁵ some new and subtler fiction'—'as a theme upon which one might wilfully⁴⁶ build a kind of absolute music.' But having given us so much instruction, he should have given more; he should have told us in what province of music he has been working. Are we to look for a music of verbal melody, or for a musical elaboration of an intellectual theme? We infer, partly from the assurance that 'the analogy to a musical symphony is close,' more from the absence of verbal melody, that we are to expect the elaboration of a theme. In that case the fact that we have a more definite grasp of the theme in the programme-introduction than anywhere in the poem itself points to failure. In the poem 'stars rush up and whirl and set,' 'skeletons whizz before and whistle behind,' 'sands bubble and roses shoot soft fire,' and we wonder what all the commotion⁴⁷ is about. When there is a lull⁴⁸ in the pandemonium⁴⁹ we have a glimpse, not of eternity⁵⁰, but precisely⁵¹ of 1890:—

  'And he saw red roses drop apart,
  Each to disclose a charnel heart….

We are far from saying that Mr Aiken's poetry is merely a chemical compound of the 'nineties, Freud and introspective Imperialism⁵²; but we do think it is liable to resolve at the most inopportune moments into those elements, and that such moments occur with distressing⁵³ frequency in the poem called 'The Charnel Rose.' 'Senlin' resists disruption longer. But the same elements are there. They are better but not sufficiently⁵⁴ fused. The rhetoric forbids, for there is no cohesion⁵⁵ in rhetoric. We have the sense that Mr Aiken felt himself inadequate⁵⁶ to his own idea, and that he tried to drown the voice of his own doubt by a violent clashing of the cymbals⁵⁷ where a quiet recitative was what the theme demanded and his art could not ensure.

  'Death himself in the rain … death himself …
  Death in the savage⁵⁸ sunlight … skeletal death …
  I hear the clack of his feet,
  Clearly on stones, softly in dust,
  Speeding among the trees with whistling breath,
  Whirling the leaves, tossing his hands from waves …
  Listen! the immortal⁵⁹ footsteps beat and beat!…'

We are persuaded that Mr Aiken did not mean to say that; he wanted to say something much subtler. But to find exactly what he wanted might have taken him many months. He could not wait. Up rushed the rhetoric; bang went the cymbals: another page, another book. And we, who have seen great promise in his gifts, are left to collect some inadequate fragments where his original design is not wholly lost amid the poor expedients⁶⁰ of the moment. For Mr Aiken never pauses to discriminate⁶¹. He feels that he needs rhyme; but any rhyme will do:—

  'Has no one, in a great autumnal forest,
  When the wind bares the trees with mournful tone,
  Heard the sad horn of Senlin slowly blown?'

So he descends⁶² to a poetaster's padding. He does not stop to consider whether his rhyme interferes⁶³ with the necessary rhythm of his verse; or, if he does, he is in too much of a hurry to care, for the interference occurs again and again. And these disturbances⁶⁴ and deviations⁶⁵, rhetoric and the sacrifice of rhythm to shoddy rhyme, appear more often than the thematic outline itself emerges.

In short, Mr Aiken is, at present, a poet whom we have to take on trust. We never feel that he meant exactly what he puts before us, and, on the whole, the evidence that he meant something better, finer, more irrevocably itself, is pretty strong. We catch in his hurried verses at the swiftly passing premonition of a frisson hitherto unknown to us in poetry, and as we recognise it, we recognise also the great distance he has to travel along the road of art, and the great labour that he must perform before he becomes something more than a brilliant feuilletonist in verse. It is hardly for us to prophesy⁶⁶ whether he will devote the labour. His fluency⁶⁷ tells us of his energy, but tells us nothing of its quality. We can only express our hope that he will, and our conviction that if he were to do so his great pains, and our lesser⁶⁸ ones would be well requited⁶⁹.
[SEPTEMBER, 1919.

1 debut   

n.首次演出，初次露面

参考例句：

• That same year he made his Broadway debut, playing a suave radio journalist.在那同一年里，他初次在百老汇登台，扮演一个温文而雅的电台记者。
• The actress made her debut in the new comedy.这位演员在那出新喜剧中首次登台演出。

2 eminently   

adv.突出地；显著地；不寻常地

参考例句：

• She seems eminently suitable for the job. 她看来非常适合这个工作。
• It was an eminently respectable boarding school. 这是所非常好的寄宿学校。 来自《简明英汉词典》

3 tenuous   

adj.细薄的，稀薄的，空洞的

参考例句：

• He has a rather tenuous grasp of reality.他对现实认识很肤浅。
• The air ten miles above the earth is very tenuous.距离地面十公里的空气十分稀薄。

4 instinctive   

adj.(出于)本能的；直觉的；(出于)天性的

参考例句：

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

5 justified   

a.正当的，有理的

参考例句：

• She felt fully justified in asking for her money back. 她认为有充分的理由要求退款。
• The prisoner has certainly justified his claims by his actions. 那个囚犯确实已用自己的行动表明他的要求是正当的。

6 doom   

n.厄运，劫数；v.注定，命定

参考例句：

• The report on our economic situation is full of doom and gloom.这份关于我们经济状况的报告充满了令人绝望和沮丧的调子。
• The dictator met his doom after ten years of rule.独裁者统治了十年终于完蛋了。

7 engraved   

v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中）

参考例句：

• The silver cup was engraved with his name. 银杯上刻有他的名字。
• It was prettily engraved with flowers on the back. 此件雕刻精美，背面有花饰图案。 来自《简明英汉词典》

8 unity   

n.团结，联合，统一；和睦，协调

参考例句：

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

9 diffuse   

v.扩散；传播；adj.冗长的；四散的，弥漫的

参考例句：

• Direct light is better for reading than diffuse light.直射光比漫射光更有利于阅读。
• His talk was so diffuse that I missed his point.他的谈话漫无边际，我抓不住他的要点。

10 persevere   

v.坚持，坚忍，不屈不挠

参考例句：

• They are determined to persevere in the fight.他们决心坚持战斗。
• It is strength of character enabled him to persevere.他那坚强的性格使他能够坚持不懈。

11 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

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

12 initiate   

vt.开始，创始，发动；启蒙，使入门；引入

参考例句：

• A language teacher should initiate pupils into the elements of grammar.语言老师应该把基本语法教给学生。
• They wanted to initiate a discussion on economics.他们想启动一次经济学讨论。

13 profane   

adj.亵神的，亵渎的；vt.亵渎，玷污

参考例句：

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

14 jig   

n.快步舞（曲）；v.上下晃动；用夹具辅助加工；蹦蹦跳跳

参考例句：

• I went mad with joy and danced a little jig.我欣喜若狂，跳了几步吉格舞。
• He piped a jig so that we could dance.他用笛子吹奏格舞曲好让我们跳舞。

15 impelled   

v.推动、推进或敦促某人做某事( impel的过去式和过去分词 )

参考例句：

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

16 professes   

声称( profess的第三人称单数 )； 宣称； 公开表明； 信奉

参考例句：

• She still professes her innocence. 她仍然声称自己无辜。
• He professes himself to be sad but doesn't look it. 他自称感到悲伤，但外表却看不出来。

17 thronging   

v.成群，挤满( throng的现在分词 )

参考例句：

• Architects from around the world are thronging to Beijing theacross the capital. 来自世界各地的建筑师都蜂拥而至这座处处高楼耸立的大都市——北京。 来自互联网
• People are thronging to his new play. 人们成群结队地去看他那出新戏。 来自互联网

18 unduly   

adv.过度地，不适当地

参考例句：

• He did not sound unduly worried at the prospect.他的口气听上去对前景并不十分担忧。
• He argued that the law was unduly restrictive.他辩称法律的约束性有些过分了。

19 prominence   

n.突出；显著；杰出；重要

参考例句：

• He came to prominence during the World Cup in Italy.他在意大利的世界杯赛中声名鹊起。
• This young fashion designer is rising to prominence.这位年轻的时装设计师的声望越来越高。

20 tellers   

n.（银行）出纳员( teller的名词复数 )；（投票时的）计票员；讲故事等的人；讲述者

参考例句：

• The tellers were calculating the votes. 计票员正在统计票数。 来自《简明英汉词典》
• The use of automatic tellers is particularly used in large cities. 在大城市里，还特别投入了自动出纳机。 来自辞典例句

21 subtleties   

细微( subtlety的名词复数 )； 精细； 巧妙； 细微的差别等

参考例句：

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

22 vile   

adj.卑鄙的，可耻的，邪恶的；坏透的

参考例句：

• Who could have carried out such a vile attack?会是谁发起这么卑鄙的攻击呢？
• Her talk was full of vile curses.她的话里充满着恶毒的咒骂。

23 premise   

n.前提；v.提论，预述

参考例句：

• Let me premise my argument with a bit of history.让我引述一些史实作为我立论的前提。
• We can deduce a conclusion from the premise.我们可以从这个前提推出结论。

24 originality   

n.创造力，独创性；新颖

参考例句：

• The name of the game in pop music is originality.流行音乐的本质是独创性。
• He displayed an originality amounting almost to genius.他显示出近乎天才的创造性。

25 proceeding   

n.行动，进行，(pl.)会议录，学报

参考例句：

• This train is now proceeding from Paris to London.这次列车从巴黎开往伦敦。
• The work is proceeding briskly.工作很有生气地进展着。

26 apparently   

adv.显然地；表面上，似乎

参考例句：

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

27 rhetoric   

n.修辞学，浮夸之言语

参考例句：

• Do you know something about rhetoric?你懂点修辞学吗？
• Behind all the rhetoric,his relations with the army are dangerously poised.在冠冕堂皇的言辞背后，他和军队的关系岌岌可危。

28 justify   

vt.证明…正当(或有理)，为…辩护

参考例句：

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

29 spatial   

adj.空间的，占据空间的

参考例句：

• This part of brain judges the spatial relationship between objects.大脑的这部分判断物体间的空间关系。
• They said that time is the feeling of spatial displacement.他们说时间是空间位移的感觉。

30 inane   

adj.空虚的，愚蠢的，空洞的

参考例句：

• She started asking me inane questions.她开始问我愚蠢的问题。
• Such comments are inane because they don't help us solve our problem.这种评论纯属空洞之词，不能帮助我们解决问题。

31 gutter   

n.沟，街沟，水槽，檐槽，贫民窟

参考例句：

• There's a cigarette packet thrown into the gutter.阴沟里有个香烟盒。
• He picked her out of the gutter and made her a great lady.他使她脱离贫苦生活，并成为贵妇。

32 smears   

污迹( smear的名词复数 )； 污斑； （显微镜的）涂片； 诽谤

参考例句：

• His evidence was a blend of smears, half truths and downright lies. 他的证词里掺杂着诽谤、部份的事实和彻头彻尾的谎言。
• Anything written with a soft pencil smears easily. 用软铅笔写成的东西容易污成一片。

33 sputter   

n.喷溅声；v.喷溅

参考例句：

• The engine gave a sputter and died.引擎发出一阵劈啪声就熄火了。
• Engines sputtered to life again.发动机噼啪噼啪地重新开动了。

34 conjure   

v.恳求，祈求；变魔术，变戏法

参考例句：

• I conjure you not to betray me.我恳求你不要背弃我。
• I can't simply conjure up the money out of thin air.我是不能像变魔术似的把钱变来。

35 infinities   

n.无穷大( infinity的名词复数 )；无限远的点；无法计算的量；无限大的量

参考例句：

36 evoked   

[医]诱发的

参考例句：

• The music evoked memories of her youth. 这乐曲勾起了她对青年时代的回忆。
• Her face, though sad, still evoked a feeling of serenity. 她的脸色虽然悲伤，但仍使人感觉安详。

37 solicitor   

n.初级律师，事务律师

参考例句：

• The solicitor's advice gave me food for thought.律师的指点值得我深思。
• The solicitor moved for an adjournment of the case.律师请求将这个案件的诉讼延期。

38 incubus   

n.负担；恶梦

参考例句：

• Joyce regarded his US citizenship as a moral and political incubus.乔伊斯把他的美国公民身份当做是一个道德和政治上的负担。Like the sumerian wind demon and its later babylonian counterpart,Lilith was regarded as a succubus,or female version of the incubus.像风妖苏美尔和后来的巴比伦妖怪，莉莉丝被视为一个女妖，或女版梦魇。

39 devoid   

adj.全无的，缺乏的

参考例句：

• He is completely devoid of humour.他十分缺乏幽默。
• The house is totally devoid of furniture.这所房子里什么家具都没有。

40 protean   

adj.反复无常的；变化自如的

参考例句：

• Sri Lanka is a protean and wonderful paradise.斯里兰卡是一个千变万化和精彩万分的人间天堂。
• He is a protean stylist who can move from blues to ballads and grand symphony.他风格多变，从布鲁斯、乡村音乐到雄壮的交响乐都能驾驭。

41 scarlet   

n.深红色，绯红色，红衣；adj.绯红色的

参考例句：

• The scarlet leaves of the maples contrast well with the dark green of the pines.深红的枫叶和暗绿的松树形成了明显的对比。
• The glowing clouds are growing slowly pale,scarlet,bright red,and then light red.天空的霞光渐渐地淡下去了，深红的颜色变成了绯红，绯红又变为浅红。

42 spun   

v.纺，杜撰，急转身

参考例句：

• His grandmother spun him a yarn at the fire.他奶奶在火炉边给他讲故事。
• Her skilful fingers spun the wool out to a fine thread.她那灵巧的手指把羊毛纺成了细毛线。

43 devour   

v.吞没；贪婪地注视或谛听，贪读；使着迷

参考例句：

• Larger fish devour the smaller ones.大鱼吃小鱼。
• Beauty is but a flower which wrinkle will devour.美只不过是一朵，终会被皱纹所吞噬。

44 disillusioned   

a.不再抱幻想的，大失所望的，幻想破灭的

参考例句：

• I soon became disillusioned with the job. 我不久便对这个工作不再抱幻想了。
• Many people who are disillusioned in reality assimilate life to a dream. 许多对现实失望的人把人生比作一场梦。

45 adoration   

n.爱慕，崇拜

参考例句：

• He gazed at her with pure adoration.他一往情深地注视着她。
• The old lady fell down in adoration before Buddhist images.那老太太在佛像面前顶礼膜拜。

46 wilfully   

adv.任性固执地；蓄意地

参考例句：

• Don't wilfully cling to your reckless course. 不要一意孤行。 来自辞典例句
• These missionaries even wilfully extended the extraterritoriality to Chinese converts and interfered in Chinese judicial authority. 这些传教士还肆意将"治外法权"延伸至中国信徒，干涉司法。 来自汉英非文学 - 白皮书

47 commotion   

n.骚动，动乱

参考例句：

• They made a commotion by yelling at each other in the theatre.他们在剧院里相互争吵，引起了一阵骚乱。
• Suddenly the whole street was in commotion.突然间，整条街道变得一片混乱。

48 lull   

v.使安静，使入睡，缓和，哄骗；n.暂停，间歇

参考例句：

• The drug put Simpson in a lull for thirty minutes.药物使辛普森安静了30分钟。
• Ground fighting flared up again after a two-week lull.经过两个星期的平静之后，地面战又突然爆发了。

49 pandemonium   

n.喧嚣，大混乱

参考例句：

• The whole lobby was a perfect pandemonium,and the din was terrific.整个门厅一片嘈杂，而且喧嚣刺耳。
• I had found Adlai unperturbed in the midst of pandemonium.我觉得艾德莱在一片大混乱中仍然镇定自若。

50 eternity   

n.不朽，来世；永恒，无穷

参考例句：

• The dull play seemed to last an eternity.这场乏味的剧似乎演个没完没了。
• Finally,Ying Tai and Shan Bo could be together for all of eternity.英台和山伯终能双宿双飞，永世相随。

51 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

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

52 imperialism   

n.帝国主义，帝国主义政策

参考例句：

• They held the imperialism in contempt.他们鄙视帝国主义。
• Imperialism has not been able to subjugate China.帝国主义不能征服中国。

53 distressing   

a.使人痛苦的

参考例句：

• All who saw the distressing scene revolted against it. 所有看到这种悲惨景象的人都对此感到难过。
• It is distressing to see food being wasted like this. 这样浪费粮食令人痛心。

54 sufficiently   

adv.足够地，充分地

参考例句：

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

55 cohesion   

n.团结，凝结力

参考例句：

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

56 inadequate   

adj.(for,to)不充足的，不适当的

参考例句：

• The supply is inadequate to meet the demand.供不应求。
• She was inadequate to the demands that were made on her.她还无力满足对她提出的各项要求。

57 cymbals   

pl.铙钹

参考例句：

• People shouted, while the drums and .cymbals crashed incessantly. 人声嘈杂，锣鼓不停地大响特响。 来自汉英文学 - 家（1-26） - 家（1-26）
• The dragon dance troupe, beating drums and cymbals, entered the outer compound. 龙灯随着锣鼓声进来，停在二门外的大天井里。 来自汉英文学 - 家（1-26） - 家（1-26）

58 savage   

adj.野蛮的；凶恶的，残暴的；n.未开化的人

参考例句：

• The poor man received a savage beating from the thugs.那可怜的人遭到暴徒的痛打。
• He has a savage temper.他脾气粗暴。

59 immortal   

adj.不朽的；永生的，不死的；神的

参考例句：

• The wild cocoa tree is effectively immortal.野生可可树实际上是不会死的。
• The heroes of the people are immortal!人民英雄永垂不朽！

60 expedients   

n.应急有效的，权宜之计的( expedient的名词复数 )

参考例句：

• He is full of [fruitful in] expedients. 他办法多。 来自《现代英汉综合大词典》
• Perhaps Calonne might return too, with fresh financial expedients. 或许卡洛纳也会回来，带有新的财政机谋。 来自辞典例句

61 discriminate   

v.区别，辨别，区分；有区别地对待

参考例句：

• You must learn to discriminate between facts and opinions.你必须学会把事实和看法区分出来。
• They can discriminate hundreds of colours.他们能分辨上百种颜色。

62 descends   

v.下来( descend的第三人称单数 )；下去；下降；下斜

参考例句：

• This festival descends from a religious rite. 这个节日起源于宗教仪式。 来自《简明英汉词典》
• The path descends steeply to the village. 小路陡直而下直到村子。 来自《简明英汉词典》

63 interferes   

vi. 妨碍，冲突，干涉

参考例句：

• The noise interferes with my work. 这噪音妨碍我的工作。
• That interferes with my plan. 那干扰了我的计划。

64 disturbances   

n.骚乱( disturbance的名词复数 )；打扰；困扰；障碍

参考例句：

• The government has set up a commission of inquiry into the disturbances at the prison. 政府成立了一个委员会来调查监狱骚乱事件。
• Extra police were called in to quell the disturbances. 已调集了增援警力来平定骚乱。

65 deviations   

背离，偏离( deviation的名词复数 )； 离经叛道的行为

参考例句：

• Local deviations depend strongly on the local geometry of the solid matrix. 局部偏离严格地依赖于固体矩阵的局部几何形状。
• They were a series of tactical day-to-day deviations from White House policy. 它们是一系列策略上一天天摆脱白宫政策的偏向。

66 prophesy   

v.预言；预示

参考例句：

• He dares to prophesy what will happen in the future.他敢预言未来将发生什么事。
• I prophesy that he'll be back in the old job.我预言他将重操旧业。

67 fluency   

n.流畅，雄辩，善辩

参考例句：

• More practice will make you speak with greater fluency.多练习就可以使你的口语更流利。
• Some young children achieve great fluency in their reading.一些孩子小小年纪阅读已经非常流畅。

68 lesser   

adj.次要的，较小的；adv.较小地，较少地

参考例句：

• Kept some of the lesser players out.不让那些次要的球员参加联赛。
• She has also been affected,but to a lesser degree.她也受到波及，但程度较轻。

69 requited   

v.报答( requite的过去式和过去分词 )；酬谢；回报；报复

参考例句：

• I requited him for his help with a present. 我送他一份礼以答谢他的帮助。 来自辞典例句
• His kindness was requited with cold contempt. 他的好意被报以 [遭致] 冷淡的轻蔑。 来自辞典例句