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CHAPTER X
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Lord Vernon’s Dante; Sir G. Cornewall Lewis on Milton and Dante; Chi era Francesco da Bologna? John Harris.

During 1848, Europe was greatly disturbed by internal commotions1, calculated to unsettle thinking men, and more especially those who took an active interest in politics. It is a matter for astonishment2, therefore, that Panizzi, whose share in such agitation3 was by no means inconsiderable, should have found time and inclination4 to devote himself to literary productions. Nevertheless, indulging in the aspirations5 for freedom which were then moving nations he yet was able to dedicate much of his time to literature.
Dante

Indeed, it is almost incredible how he could, with so much on his brain, have given himself up to the editing of Dante. Of the great Italian poet so much might be written that it would be but irrelevant6 to this biography to leave the principal mover in it, even temporarily, to dilate7 on so exalted8 a subject. We must, therefore, merely observe that Panizzi was deeply impressed with the 295importance of Dante’s poetry, which excelled all that had preceded it, and was written in the lingua vulgare, only that it might be understood by the people, who delighted in its inexhaustible treasures. Five centuries have elapsed since the great Florentine wrote his Divina Commedia, which has now become the property and admiration10 of the whole civilized11 world.

The editions of it are very numerous, but it is with the first four we have now to deal.

The earliest is the Editio Princeps, of Foligno, by Numeister, bearing date 1472. In the same year were also printed one edition at Jesi, by Federico Veronese, and another at Mantua, by Germanus, Giorgio e Paolo. That at Naples was edited by Giovanni Francesco del Tuppo, printed by Reussinger, and appeared three years later.

An idea of the value and importance of the volume edited by Panizzi, at the expense of Lord Vernon (published by Messrs. T. and W. Boone, and printed by Charles Whittingham), may be formed by the mere9 fact that these first four editions are here united in one, which, to the student, must prove an invaluable13 boon12, as he is thus enabled to perceive at a glance the variations in the text.

These editions can only be found altogether at the British Museum, though separate copies exist in other libraries also.

296In the year 1835, Mr. Grenville gave the sum of £60 for the copy printed at Naples, and in 1842 he purchased for £42. 16s. 0d. the Mantua edition, which two copies are now in the British Museum, forming part of his munificent15 bequest16 to the Nation.

From Panizzi’s preface we learn that he gave £90 to Mr. Asher, of Berlin, for the Jesi Dante, in which six pages were missing. Fac-similes were made by John Harris, from a copy in the possession of Earl Spencer. Later on, Mr. Winter Jones, at that time Keeper of the Printed Books, purchased another incomplete copy, from which he was enabled to replace four more pages, thus rendering17 it all but complete.

Two copies of the Foligno Edition are to be found in the same Library—the most favoured possessor in the world of early editions of Dante.

Lord Vernon could have no better opportunity of reprinting them in London. In securing the assistance of Panizzi, whose knowledge and precision were of the utmost importance, he was most fortunate. Moreover, the printing of the book in question is highly creditable to British typography. It is a folio of 800 pages, with a preface by the Editor, and contains fac-similes of the originals. Lord Vernon, being a corresponding member, dedicated18 it to the Accademia della Crusca.

The preliminaries for this work, which was published in 1858, were entered into just ten years before; and a memorandum19 from Lord Vernon, dated October 23, 1848, is extant, in which he makes a proposal to Panizzi that the sum of £50 should be paid to him 297every six months, until the completion of the work—the said payment to terminate in four years—the whole sum amounting in the aggregate20 to £400.

In this transaction Mr. Pickering was consulted.

Panizzi lost no time, and was evidently eager to begin a task so congenial to his taste; for barely a week afterwards (to quote his own words) he wrote to Lord Vernon, “I have set to work without a moment’s delay, putting aside every other unofficial occupation.”

The question relating to the latter part of the following letter of Lord Vernon, seems to have arisen from a misunderstanding as to the use of the word his for this; and will be best explained by giving his Lordship’s letter, in addition to Panizzi’s very characteristic reply:—
“Florence, 21st Nov., 1848.

“My Dear Sir,

I am very happy to find that Mr. Pickering’s proposal has met with your approval, as it did with mine. As for myself, I can only congratulate myself at having had the good fortune to secure your valuable assistance at any price within my means.
Lord Vernon

Respecting the correction of the press, you are right in supposing that it was intended to apply not only to the part which more immediately concerns yourself, but to the whole work. If, however, you think that the revision of my part of the work will be a great fatigue21, and take up too much of your time, I am willing to omit this from the conditions above 298stated. I must, however, in this case, beg of you to name your own terms, in case it suited you to undertake it, or else to find some one else in whose capacity and judgment22 you have confidence, and who will have some discretion23 in his demands upon my purse.
Yours, &c., &c.,
Vernon.”
“B. M., Nov. 30th, 1848.

“My dear Lord,

In thanking you for your kind expressions towards me, I beg to add that I cannot allow you to incur24 any expense whatever for correcting your own edition of the Inferno25. I consider it part of my duty, according to the terms of the memorandum of the 23rd of October, as explained in my lettter to your Lordship on the 31st of the same month, to correct the press of that Cantica; I am at your Lordship’s orders, and ready to perform that duty to the best of my abilities.

I suppose I shall hear from Mr. Pickering when I am wanted in that respect. With reference to the text of the first four editions, twelve cantos of the first (Foligno) are prepared for collation27 with those of Mantua, Jesi, and Naples.

By midsummer I hope the greater part, if not the whole of the first part of the poem, will be thus collated28 and ready for press. The printing will proceed slowly, as I am to re-collate the whole in type.
Yours, &c., &c.,
A. Panizzi.”

As early as September, 1849, there was already sufficient material for going to press; but though Panizzi continually wrote to his Lordship urging the necessity of beginning to print, a year elapsed without any communication on the subject, and without any progress with the work. From a letter in the month of June, 1851, Lord Vernon appears to have 299been somewhat discouraged; the booksellers not having taken up the matter in so spirited a manner as he anticipated, and Panizzi complaining, not without reason, that the work seems to have come almost to a stand still, consoled himself by addressing the following letter to Mr. E. White, his Lordship’s solicitor:—
“British Museum, May 5th, 1852.

“Dear Sir,

It is not for me to suggest to his Lordship any course of proceeding29; as, however, I am not totally indifferent with respect to the determination he may come to, I hope to be forgiven for saying a very few words on the subject.

When I undertook to carry out Lord Vernon’s wishes expressed in the memorandum handed to me by Mr. Pickering, and confirmed by his Lordship’s subsequent letters, I was not only moved by the pecuniary30 remuneration which Lord Vernon was pleased to propose to me, I looked forward to the time when the work should be published, from which I expected some credit. I cannot, therefore, feel indifferent to his Lordship’s determination as to publishing; nor can I receive without some slight observation the sum which Lord Vernon proposed to me as a remuneration for a certain work, without fulfilling on my part the obligations I have incurred31. These I am most anxious to perform, but it is impossible for me to do so if Lord Vernon does not order a printer to print the manuscript which I have not failed to prepare as agreed, and in a manner which his Lordship had fully32 approved of.

I am not less desirous to perform what I have undertaken, than I am of receiving the remuneration which I was led to expect for it; and it would be very painful to me if his Lordship merely performed his part of the agreement without enabling me to perform mine.
Yours, &c., &c.,
A. Panizzi.”

300Much to the editor’s delight, however, work was resumed; and by the summer of 1854 Mr. Whittingham had already sent in a bill for printing the Inferno.

Such was the beauty of the work that it deeply impressed Lord Vernon’s sensitive nature, and in the following year he desired that the Purgatorio should be forthwith proceeded with, but as the first portion approached completion, his Lordship became anxious as to the title of the book and its disposal, as the following letter clearly testifies:—
“Nov. 4, 1856,
H?tel Westminster,
Rue33 de la Paix, Paris.

“Dear Mr. Panizzi,

What shall we call the union of four editions in one? I cannot think of a word. You cannot call it “Tesseraglott,” because it is one “glotte,” or language, though not quite in one dialect. If I remember right, there is in Ugo Foscolo’s edition rather a learned disquisition about the cause of the difference in the texts of the early editions, viz., the difference in the dialect of the early copyists, &c., &c., &c.

I was thinking of dedicating the book to the Crusca(of which I am a most unworthy corresponding member), if you see no objection to it. What plan would you recommend me to pursue for the publication of this book, and of my own edition of the “Inferno?” Had I better sell it to some bookseller for a certain sum, or had I better let the bookseller sell it on my account, receiving so much percent? Or had I better sell it by auction35, or had I better give it all away?

What bookseller to employ I know not, nor whether to publish it in England, France, or Italy.

Then as to price (if a price it is to have). What might it be? There will be 2 vols, folio—viz., one of the text with 301my paraphrastic36 interpretation37 (I say this because it is not exactly a paraphrase38, inasmuch as no single word of the original is omitted). 2nd. A volume also in folio of illustrative matters; and 3rd, 1 vol. folio, the album Dantesco with explanatory notes.

I say folio, but perhaps it is royal 4to., I do not know how this may be, but they will all be the same size. I shall be very thankful when it is off my hands.

If I had health I should do the “Purgatorio.” The “Paradiso” is too philosophical39 and metaphysical and theological for my poor simple head. It is a pity, however, that the other two Cantiche should not be done, as it would add considerably40 to the value of the book.

There is another way of publication—viz., subscription41, but I do not much like this.
Yours, &c., &c.,
Vernon.”

This letter was followed not long afterwards by another, in which Lord Vernon entered into details regarding the sale and profits likely to accrue42 from it. He was, evidently, still undecided as to the title of the book, and urged Panizzi to suggest one.

As to the place of publication, his Lordship, with a certain amount of reason, desired that it should be in London; he very justly observes that:—“Being done at the expense of an Englishman, printed in England, on English paper, and from four editions, which are found together only in the British Museum, moreover, being the homage43 of an Englishman to Italy’s greatest poet, to her literature, and to her most celebrated44 Academies, it would appear with better grace, as coming from London, than any Italian city.”

302By March, 1858, the book was completed, when Lord Vernon expressed himself thus: “I hope to hear in a short time that, like the Great Leviathan, it has overcome all stops and hindrances45, and been fairly launched in the stream of literature.”

Some writers—and amongst them the subject of our memoir—have looked upon Milton as an occasional imitator of Dante. A propos of this theory (which may best be studied in Professor Masson’s biography of the great Puritan poet), we propose to give, at some length, a correspondence on the subject between Panizzi and Sir G. Cornewall Lewis. The letters of the former are so full of sound thought and such fair specimens46 of his literary knowledge that we append them, together with Sir G. C. Lewis’s reply, for the reader’s edification.
“British Museum,
January 22, 1856.

My dear Sir George,
Sir G. Cornwall Lewis

I have been looking whether my memory had served me right as to Milton having occasionally imitated Dante, which I mentioned on Sunday, when we were speaking of Dante being or not being known in England before the last century. I have found several passages which I think bear me out; for instance:—
‘Non ragioniam di lor, ma guarda, e passa.’
‘Therefore eternal silence be their doom48.’—P. L. 6, 385.

But I don’t quote more, as in his prose works (vol. IV., p. 11, edit. of 1753) he actually quotes as his authority against Rome Dante’s lines, c. 19, v. 115—

303‘Ahi Costantin, di quanto, mal fu matre,’ and translates them thus:—
‘Ah, Constantine! of how much ill was cause
Not thy conversion49, but those rich demains
That the first wealthy Pope receiv’d of thee.’

and then he, moreover, refers to the twentieth Canto26 of the Paradiso.

It is curious to see, not long after Milton—or, perhaps, at the same time—Stillingfleet, in his Origines Sacr? (Book 2nd, ch. 9, sec. 19, and ch. 10, sec. 5) quote Dante as an authority on the truth of Christianity, but he gives the verses in a Latin translation by F. S. (I have not looked to see who F. S. was.)

Spenser, too, has imitated Dante, I think. Tradubio, who is turned into a tree and speaks, of Pier50 delle Vigne.
‘Uomini fummo, ed or siam fatti sterpi.’
‘But once a man, Tradubio, now a tree.’

Chaucer has often imitated Dante, whom he calls (Wife of Bath’s Tale, v. 6708, in Tyrwhitt’s edit.) ‘the wise poet of Florence—that highte Dante,’ of whom he translated immediately after the lines:—
‘Rade volte discende per li rami,’ &c.
‘Full selde up riseth by his branches small,’ &c.;

and in the Monk’s Tale the whole of Ugolino’s Story is translated, and he ends by referring to
‘The grete poete of Itaille—
That highte Dante ...’ as its author.

And now I end in haste.
Yours, &c., &c.,
A. Panizzi.”
“Kent House, Jan. 25, 1856.

“Dear Panizzi,

The imitation of Dante in Milton’s verse—‘Therefore eternal silence be their doom’—seems to me doubtful. The quotation51 of the celebrated passage ‘Ahi Costantin’ does not prove that Milton had read Dante—he might have found this anti-papal citation52 in some controversial work.

304I have no doubt that scattered53 references to particular passages and particular expressions in a writer so sterling54, and once too well-known, can be found at all periods. But is there any evidence that Milton’s contemporaries read Dante, and understood and admired him, and were influenced by his poetry in their compositions?
Yours, &c., &c.,
G. C. Lewis.”
“B. M., Jan. 26, 1856.

“My dear Sir George,

Dante says:—
‘Fama di loro il mondo esser non lassa,
Misericordia e Giustizia gli sdegna.
Non ragioniam di lor, ma guarda, e passa.’

And Milton:—
‘Cancelled from Heaven and sacred memory,
Nameless in dark oblivion let them dwell;
  *      *      *      *      *      *
Therefore eternal silence be their doom.’
—P. L., 6. 380-5.

Take the whole, and it seems to me that the English is in imitation of the Italian. But great poets, when they imitate, they do so making the images their own; they don’t copy, but they abridge55, add, and alter so as to appear original, and so does Milton. I find that he once translated one line Dante, at the beginning of the Paradiso, c. 1, v. 12, says:
‘Sarà ora materia del mio canto,’

And Milton, P. L., 3. 413:—
‘Shall be the copious56 matter of my song.’

And compare also what he says of the sun in that book (v. 586), with the very first lines of the Canto of Dante.

In his sonnet57 to Henry Lawes, Milton says:—
‘Dante shall give Fame leave to set thee higher
Than his Casella, whom he woo’d to sing,
Met in the milder shades of Purgatory58.’

305Now this alludes59 to Purg. c.2, v.106, and ‘the milder shades of Purgatory’ when compared to those of Hell, seem to show that Milton had read both.

Add to this that Milton knew Italian thoroughly60, that he had passed some time at Florence, where Dante was never forgotten, and that Galileo, and still more Dati, were intimate friends of his. Now, Galileo and Dati were great admirers of Dante, and placed him in the highest rank of poets.

I cannot, therefore, doubt that Milton was thoroughly conversant61 with Dante’s poetry, and admired him. How far he was influenced by his poetry in his compositions, would require a long critical essay; the more difficult to draw up satisfactorily, the more is the originality62 of a great poet like Milton in appropriating other poet’s ideas.
Believe me, &c.,
A. Panizzi.”

Whatever may have been the ultimate settlement of this friendly discussion, Panizzi’s estimate of Sir George’s talents and abilities may be accurately63 gathered from the next letter we quote, which asks him to become a candidate for a vacant Trusteeship of the British Museum.
“British Museum, August 16, 1856.

“My dear Sir George,

The Dean of Westminster is dead: he was one of our Trustees. We want as his successor an M.P. who will help us when not in office, who is pretty safe of his seat, and whose pursuits render him fit for the place. Now, without any ceremony, you are the man we want, and I mean to do what little I can to bring your name before the electors. There can be no difficulty, as the Government necessarily get elected whom they please. I want no answer from you, except if you decidedly object: in which case I want you only to write the word no. I hope, however, you will accept ‘la candidature,’ as the French say. I think Cureton ought to be elected Dean. He is one of the most eminent64 Oriental 306scholars in the world, as you know—and certainly the most eminent in England.
Believe me, &c.,
A. Panizzi.”

“P.S.—I know Lord Clarendon is staying with you. Please show him this: I am sure he will see that it is done—I mean for you.”

The hopes thus expressed were realized, as, on the 27th of February of the following year (1857), Sir George C. Lewis was appointed one of the Trustees of our famous Institution.

And here may be given an extract from a letter of J. A. Carlyle (Thomas Carlyle’s brother), also on the topic of Dante’s poems, which deserves recognition, as a proof of the esteem65 in which Panizzi was universally held, in especial by Englishmen.
“20th December, 1848.

“I really wish you could find leisure to write something expressly concerning the times in which Dante lived. You could do it better than any other person, and it has now become very necessary.”
Francesco Raibolini

And now, let us proceed to another publication. In the year 1858 Panizzi issued, for his friends, a charming little work, beautifully printed, also by Charles Whittingham.

Written in Italian, and dedicated to H.R.H. the Duke d’Aumale, only 250 copies were printed, under the title of Chi era Francesco da Bologna?—proving, so far as the question could be then proved, that the said Francesco 307da Bologna was no other than the celebrated painter. Francesco Raibolini, born about 1450, and commonly called il Francia. The name of Francia he derived66 from his master, a goldsmith, die, and niello engraver67. According to Vasari and a document discovered by Calvi, his death took place on the 6th of January, 1517.[N] Francesco Raibolini was at once, in common with many of his compeers, goldsmith and type-cutter, as well as a painter, and to his skilful68 hands, Aldus, whose name they bear, was indebted for his characters. From Panizzi, we learn that, “at the end of the short Preface prefixed by Aldus to his first edition of Virgil (1501), printed in the cursive or secretarial characters manum mentientes, afterwards generally known by the name of Aldine, are the following three verses:—
In Grammatoglypt?
Laudem.
“Qui graiis dedit Aldus, en latinis
Dat nunc grammata scalpta d?daleis
Francisci manibus Bononiensis,”

(Translation). In praise of the type-engraver. Aldus now gives to the Latins, as he gave to the Greeks, letters graven by the d?dal hands of Francesco da Bologna.

Besides cutting types, Francesco used them too, for he set up a press at his native town, Bologna, in 1516, and printed several works, now rare, as, for instance, “Il Canzoniere” of Petrarch, “L’Arcadia di Sannazaro” and “Gli Asolani” of Bembo, “Il Corbaccio” and the “Epistol? ad Familiares” of Cicero.

N. The date as in the document in question is 1517. The old custom of beginning the ecclesiastical and legal year on the 20th of March was never established at Bologna.

308About 1503, Francesco quarrelled with Aldus, and we find, in a letter prefixed to the edition of Petrarch, that he bitterly complains of deriving70 no honour or profits from the types he had himself cut. It is notorious that Aldus freely gave out that he was not only the inventor, but also the cutter; and, therefore, the work by Panizzi, to say nothing of its beauty, is of great importance, for it does justice to the real inventor, and this discovery is due to the author of the pamphlet, who, besides, enlightens us, in clear language, respecting the distinguished71 Bolognese:—

“From the beginning of printing up to a time not far distant from our own, the engravers of punches for types were goldsmiths, die-sinkers, medallists, niellists,—masters in their art. It will be found in Zani that Fust and Sch?ffer were goldsmiths, and so, it is believed, was Guttenberg; while, in the opinion of the said Zani, it was Giovanni Dunne, ‘a most excellent goldsmith, who led the way in the formation of metal types.’ ... Every one knows how distinguished Francia was as a goldsmith, his first and chief profession, and how frequently he signed his paintings with the words, ‘Franciscus Francia aurifaber,’ or ‘aurifex,’ as if he gloried in the designation. Vasari says, in the Life of Francia, that his fine medals stood on a par14 with those of Caradosso; but he says never a word of the Furnius conjured72 up by Gaurico.”

“I had long suspected that this Francesco da Bologna, was no other than the Bolognese Francesco Raibolini, generally known as ‘Francia.’ Some years ago, in running through a work of some note 309in former times, I found that after mentioning various ancient artists, exactly as Gaurico does, it went on to speak of the modern ones thus:—‘I find amongst the ancients one great omission73 of which the moderns take notice, and that is with regard to engravers or artists in silver, a kind of work known as niello. I am acquainted with a man of the highest excellence74, and very famous in his art, his name is Francesco da Bologna, otherwise Franza; he forms or engraves75 on a diminutive76 orb69 or plate of silver, so many men and animals, so many mountains, trees, and castles, and in so many various shapes and positions that it is wonderful to behold77 or describe.’”

“And here I might stop,” continues Panizzi, “were it not that the direct testimony78 of Leonardi is corroborated79 irrefragably by a very remarkable80 circumstance.... I think I may conclude by answering the question which I have put to myself, thus:—Francesco da Bologna was Francesco Raibolini, called Francia, the worthy34 contemporary and compatriot of Leonardo, Raphael, and Michel Angelo, great as a painter, great as an engraver, great as a medallist, great as a niellist, without equal as a type-cutter, a shining ornament81 of illustrious and learned Bologna.”

Conclusive82 as Panizzi’s argument appeared to be, there were, of course, dissentients, and among them was Count Giacomo Manzoni, who, in a jocular letter to the late librarian of the Laurenziana (Florence) Cav. Ferrucci, expressed his doubts. Panizzi, in a tone of equal good humour, confuted the Count, and issued a second edition in 1873, containing 310his answer to Count Manzoni’s suggested objections.

The “bijou” work (or as Monsieur Brunet, the celebrated bibliophile83 termed it, un véritable bijou typographique), once out of the publisher’s hands, it was circulated amongst Panizzi’s friends, and translated by Mr. Charles Cannon84. The laudatory85 letters, replete86 with thanks, which followed were numerous, but as an example of these, that from the already mentioned Mons. Brunet must suffice:—
“Paris, 30 Nov., 1858.

“Monsieur,

J’ai bien tardé à vous remercier du charmant opuscule que M. Mérimée m’a fait l’honneur de me remettre de votre part. C’est qu’avant de vous écrire je voulais avoir pris connaissance de cette curieuse dissertation87, et que malheureusement, occupé sans relache d’un travail88 in extremis, pour ma nouvelle édition, il me reste bien peu de temps à donner à mes plaisirs. C’en a été un véritable pour moi de vous lire et d’admirer l’exactitude de vos fac-simile. Vos conjectures89, Monsieur, sur Francesco de Bologna, me paraissent bien fondées: elles font conna?tre tout90 le mérite d’un artiste, que jusqu’ici, on avait regardé seulement comme un habile graveur de poin?ons à l’usage des imprimeurs.

A l’égard de ces poin?ons, permettez moi, Monsieur, de faire ici une réserve en faveur de l’Alde l’ancien. Cet imprimeur, à ce qu’il parait, les a achetés de Francesco, il en a fait frapper les matrices nécessaires pour la fonte des caractères cursifs dont il a fait un si fréquent usage à partir de 1501. Or, avant de se livrer aux dépenses considérables où cela devait l’entra?ner, il a d? naturellement se réserver la propriété exclusive des objects acquis par lui, alors s’il en agit ainsi, il a eu raison de se plaindre de ce que l’artiste eut livré des caractères semblables à Géronimo Soncino pour son Pétrarque de 1503, 311et il était parfaitement dans son droit lorsqu’il sollicitait et obtenait du Pape un privilège exclusif pour ses nouveaux caractères.

Je connaissais déjà plusieurs des petites éditions données par Francesco, en 1516, mais pas le Cicéron, et j’ignorais que cet artiste n’eut exercé la Typographie, que moins d’une année. J’aurais, j’en suis certain bien d’autres choses à apprendre de vous, Monsieur, qui possédez de si grandes connaissances en ce genre91, mais, à mon grand regret, éloigné de vous pour toujours, et occupé de terminer un travail que mon grand age m’avertit de limiter, je ne pourrai guère profiter des secours que vous m’avez si obligemment offerts lorsque j’ai eu le plaisir de vous voir.
Agréez, &c., &c.,
Brunet.”

The fac-similes which are placed at the end of the work were executed by John Harris, L’incomparabile Harris, as Panizzi was in the habit of styling him. As a fac-similist he stood alone. So correct and so wonderful were his productions, that Panizzi himself adopted the safe plan of writing, in pencil, on the margin92 of them, “This is by J. H.—A. P.” He eventually lost his sight, and died very poor. Some of the leaves supplied by him are so perfectly93 done that, after a few years, he himself experienced some difficulty in distinguishing his own work from the original. On one occasion a question arose as to the completeness of a certain copy of a rare book in the Museum Library; it was brought to light and carefully examined by Panizzi, Mr. Jones, and Mr. Watts94. After a fruitless search, page by page, a consultation95 ended in a summons to Harris himself to point out the leaves that he had supplied. It was only after a very close examination that the artist was able to detect his 312own handiwork. This circumstance induced Panizzi to to initial all such fac-similes. The reader is recommended to examine a book in the National Library,—a copy of Magna Charta, as a specimen47 of his skill.

Mr. Grenville employed Harris largely. On one occasion he supplied a few missing leaves to a rare book, and after it was shown to connoisseurs96, the venerable gentleman presented him with the book.

So much for Panizzi’s literary abilities and his discernment and success in this sphere of his many and arduous97 labours, in which he exhibited the same powers of mind and application as in all the varied98 occupations of his busy life. Enough has, however, been said to show how, amongst all his other multifarious and unceasing occupations, he found time to dedicate his mind to literature, and literature of a class to demand the greatest application and labour of the brain.

点击收听单词发音收听单词发音  

1 commotions 6120e81e9d69feec2f6204499ffa8a74     
n.混乱,喧闹,骚动( commotion的名词复数 )
参考例句:
2 astonishment VvjzR     
n.惊奇,惊异
参考例句:
  • They heard him give a loud shout of astonishment.他们听见他惊奇地大叫一声。
  • I was filled with astonishment at her strange action.我对她的奇怪举动不胜惊异。
3 agitation TN0zi     
n.搅动;搅拌;鼓动,煽动
参考例句:
  • Small shopkeepers carried on a long agitation against the big department stores.小店主们长期以来一直在煽动人们反对大型百货商店。
  • These materials require constant agitation to keep them in suspension.这些药剂要经常搅动以保持悬浮状态。
4 inclination Gkwyj     
n.倾斜;点头;弯腰;斜坡;倾度;倾向;爱好
参考例句:
  • She greeted us with a slight inclination of the head.她微微点头向我们致意。
  • I did not feel the slightest inclination to hurry.我没有丝毫着急的意思。
5 aspirations a60ebedc36cdd304870aeab399069f9e     
强烈的愿望( aspiration的名词复数 ); 志向; 发送气音; 发 h 音
参考例句:
  • I didn't realize you had political aspirations. 我没有意识到你有政治上的抱负。
  • The new treaty embodies the aspirations of most nonaligned countries. 新条约体现了大多数不结盟国家的愿望。
6 irrelevant ZkGy6     
adj.不恰当的,无关系的,不相干的
参考例句:
  • That is completely irrelevant to the subject under discussion.这跟讨论的主题完全不相关。
  • A question about arithmetic is irrelevant in a music lesson.在音乐课上,一个数学的问题是风马牛不相及的。
7 dilate YZdzp     
vt.使膨胀,使扩大
参考例句:
  • At night,the pupils dilate to allow in more light.到了晚上,瞳孔就会扩大以接收更多光线。
  • Exercise dilates blood vessels on the surface of the brain.运动会使大脑表层的血管扩张。
8 exalted ztiz6f     
adj.(地位等)高的,崇高的;尊贵的,高尚的
参考例句:
  • Their loveliness and holiness in accordance with their exalted station.他们的美丽和圣洁也与他们的崇高地位相称。
  • He received respect because he was a person of exalted rank.他因为是个地位崇高的人而受到尊敬。
9 mere rC1xE     
adj.纯粹的;仅仅,只不过
参考例句:
  • That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
  • It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。
10 admiration afpyA     
n.钦佩,赞美,羡慕
参考例句:
  • He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
  • We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。
11 civilized UwRzDg     
a.有教养的,文雅的
参考例句:
  • Racism is abhorrent to a civilized society. 文明社会憎恶种族主义。
  • rising crime in our so-called civilized societies 在我们所谓文明社会中日益增多的犯罪行为
12 boon CRVyF     
n.恩赐,恩物,恩惠
参考例句:
  • A car is a real boon when you live in the country.在郊外居住,有辆汽车确实极为方便。
  • These machines have proved a real boon to disabled people.事实证明这些机器让残疾人受益匪浅。
13 invaluable s4qxe     
adj.无价的,非常宝贵的,极为贵重的
参考例句:
  • A computer would have been invaluable for this job.一台计算机对这个工作的作用会是无法估计的。
  • This information was invaluable to him.这个消息对他来说是非常宝贵的。
14 par OK0xR     
n.标准,票面价值,平均数量;adj.票面的,平常的,标准的
参考例句:
  • Sales of nylon have been below par in recent years.近年来尼龙织品的销售额一直不及以往。
  • I don't think his ability is on a par with yours.我认为他的能力不能与你的能力相媲美。
15 munificent FFoxc     
adj.慷慨的,大方的
参考例句:
  • I am so happy to get munificent birthday presents from my friends.我很高兴跟我朋友收到大量的生日礼物。
  • The old man's munificent donation to the hospital was highly appreciated.老人对医院慷慨的捐赠赢得了高度赞扬。
16 bequest dWPzq     
n.遗赠;遗产,遗物
参考例句:
  • In his will he made a substantial bequest to his wife.在遗嘱里他给妻子留下了一大笔遗产。
  • The library has received a generous bequest from a local businessman.图书馆从当地一位商人那里得到了一大笔遗赠。
17 rendering oV5xD     
n.表现,描写
参考例句:
  • She gave a splendid rendering of Beethoven's piano sonata.她精彩地演奏了贝多芬的钢琴奏鸣曲。
  • His narrative is a super rendering of dialect speech and idiom.他的叙述是方言和土语最成功的运用。
18 dedicated duHzy2     
adj.一心一意的;献身的;热诚的
参考例句:
  • He dedicated his life to the cause of education.他献身于教育事业。
  • His whole energies are dedicated to improve the design.他的全部精力都放在改进这项设计上了。
19 memorandum aCvx4     
n.备忘录,便笺
参考例句:
  • The memorandum was dated 23 August,2008.备忘录上注明的日期是2008年8月23日。
  • The Secretary notes down the date of the meeting in her memorandum book.秘书把会议日期都写在记事本上。
20 aggregate cKOyE     
adj.总计的,集合的;n.总数;v.合计;集合
参考例句:
  • The football team had a low goal aggregate last season.这支足球队上个赛季的进球总数很少。
  • The money collected will aggregate a thousand dollars.进帐总额将达一千美元。
21 fatigue PhVzV     
n.疲劳,劳累
参考例句:
  • The old lady can't bear the fatigue of a long journey.这位老妇人不能忍受长途旅行的疲劳。
  • I have got over my weakness and fatigue.我已从虚弱和疲劳中恢复过来了。
22 judgment e3xxC     
n.审判;判断力,识别力,看法,意见
参考例句:
  • The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
  • He's a man of excellent judgment.他眼力过人。
23 discretion FZQzm     
n.谨慎;随意处理
参考例句:
  • You must show discretion in choosing your friend.你择友时必须慎重。
  • Please use your best discretion to handle the matter.请慎重处理此事。
24 incur 5bgzy     
vt.招致,蒙受,遭遇
参考例句:
  • Any costs that you incur will be reimbursed in full.你的所有花费都将全额付还。
  • An enterprise has to incur certain costs and expenses in order to stay in business.一个企业为了维持营业,就不得不承担一定的费用和开支。
25 inferno w7jxD     
n.火海;地狱般的场所
参考例句:
  • Rescue workers fought to get to victims inside the inferno.救援人员奋力营救大火中的受害者。
  • The burning building became an inferno.燃烧着的大楼成了地狱般的地方。
26 canto nsgzX     
n.长篇诗的章
参考例句:
  • It's the fourth canto of Byron's "Childe Harold".这是拜伦长诗《恰尔德·哈罗尔德游记》的第四章。
  • The Fifth Canto of the Srimad Bhagavatam tells of innumerable universes.《圣典博伽瓦谭》第五篇讲述了有无数宇宙存在。
27 collation qW9yG     
n.便餐;整理
参考例句:
  • It was in this retreat that Mr. Quilp ordered a cold collation to be prepared.奎尔普先生就是在这个别墅里预定冷点的。
  • I was quite taken with your line of photocopiers with collation and stapling capability.我被贵公司能够自动整理和装订的系列复印机吸引住了。
28 collated 36df79bfd7bdf62b3b44f1a6f476ea69     
v.校对( collate的过去式和过去分词 );整理;核对;整理(文件或书等)
参考例句:
  • When both versions of the story were collated,major discrepancies were found. 在将这个故事的两个版本对照后,找出了主要的不符之处。 来自《简明英汉词典》
  • Information was collated from several data centers around the country. 信息从城市四周的几个数据中心得到校对。 来自互联网
29 proceeding Vktzvu     
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。
30 pecuniary Vixyo     
adj.金钱的;金钱上的
参考例句:
  • She denies obtaining a pecuniary advantage by deception.她否认通过欺骗手段获得经济利益。
  • She is so independent that she refused all pecuniary aid.她很独立,所以拒绝一切金钱上的资助。
31 incurred a782097e79bccb0f289640bab05f0f6c     
[医]招致的,遭受的; incur的过去式
参考例句:
  • She had incurred the wrath of her father by marrying without his consent 她未经父亲同意就结婚,使父亲震怒。
  • We will reimburse any expenses incurred. 我们将付还所有相关费用。
32 fully Gfuzd     
adv.完全地,全部地,彻底地;充分地
参考例句:
  • The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气,然后全部呼出。
  • They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。
33 rue 8DGy6     
n.懊悔,芸香,后悔;v.后悔,悲伤,懊悔
参考例句:
  • You'll rue having failed in the examination.你会悔恨考试失败。
  • You're going to rue this the longest day that you live.你要终身悔恨不尽呢。
34 worthy vftwB     
adj.(of)值得的,配得上的;有价值的
参考例句:
  • I did not esteem him to be worthy of trust.我认为他不值得信赖。
  • There occurred nothing that was worthy to be mentioned.没有值得一提的事发生。
35 auction 3uVzy     
n.拍卖;拍卖会;vt.拍卖
参考例句:
  • They've put the contents of their house up for auction.他们把房子里的东西全都拿去拍卖了。
  • They bought a new minibus with the proceeds from the auction.他们用拍卖得来的钱买了一辆新面包车。
36 paraphrastic cb124399873bf4fb8e3879c94c41cd7e     
adj.改写成容易明白的,说明性的
参考例句:
37 interpretation P5jxQ     
n.解释,说明,描述;艺术处理
参考例句:
  • His statement admits of one interpretation only.他的话只有一种解释。
  • Analysis and interpretation is a very personal thing.分析与说明是个很主观的事情。
38 paraphrase SLSxy     
vt.将…释义,改写;n.释义,意义
参考例句:
  • You may read the prose paraphrase of this poem.你可以看一下这首诗的散文释义。
  • Paraphrase the following sentences or parts of sentences using your own words.用你自己的话解释下面的句子或句子的一部分。
39 philosophical rN5xh     
adj.哲学家的,哲学上的,达观的
参考例句:
  • The teacher couldn't answer the philosophical problem.老师不能解答这个哲学问题。
  • She is very philosophical about her bad luck.她对自己的不幸看得很开。
40 considerably 0YWyQ     
adv.极大地;相当大地;在很大程度上
参考例句:
  • The economic situation has changed considerably.经济形势已发生了相当大的变化。
  • The gap has narrowed considerably.分歧大大缩小了。
41 subscription qH8zt     
n.预订,预订费,亲笔签名,调配法,下标(处方)
参考例句:
  • We paid a subscription of 5 pounds yearly.我们按年度缴纳5英镑的订阅费。
  • Subscription selling bloomed splendidly.订阅销售量激增。
42 accrue iNGzp     
v.(利息等)增大,增多
参考例句:
  • Ability to think will accrue to you from good habits of study.思考能力将因良好的学习习惯而自然增强。
  • Money deposited in banks will accrue to us with interest.钱存在银行,利息自生。
43 homage eQZzK     
n.尊敬,敬意,崇敬
参考例句:
  • We pay homage to the genius of Shakespeare.我们对莎士比亚的天才表示敬仰。
  • The soldiers swore to pay their homage to the Queen.士兵们宣誓效忠于女王陛下。
44 celebrated iwLzpz     
adj.有名的,声誉卓著的
参考例句:
  • He was soon one of the most celebrated young painters in England.不久他就成了英格兰最负盛名的年轻画家之一。
  • The celebrated violinist was mobbed by the audience.观众团团围住了这位著名的小提琴演奏家。
45 hindrances 64982019a060712b43850842b9bbe204     
阻碍者( hindrance的名词复数 ); 障碍物; 受到妨碍的状态
参考例句:
  • She also speaks out against the traditional hindrances to freedom. 她甚至大声疾呼,反对那些阻挡自由的、统礼教的绊脚石。
  • When this stage is reached then the hindrances and karma are overcome. 唯此状态达到后,则超越阻碍和因果。
46 specimens 91fc365099a256001af897127174fcce     
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人
参考例句:
  • Astronauts have brought back specimens of rock from the moon. 宇航员从月球带回了岩石标本。
  • The traveler brought back some specimens of the rocks from the mountains. 那位旅行者从山上带回了一些岩石标本。 来自《简明英汉词典》
47 specimen Xvtwm     
n.样本,标本
参考例句:
  • You'll need tweezers to hold up the specimen.你要用镊子来夹这标本。
  • This specimen is richly variegated in colour.这件标本上有很多颜色。
48 doom gsexJ     
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。
49 conversion UZPyI     
n.转化,转换,转变
参考例句:
  • He underwent quite a conversion.他彻底变了。
  • Waste conversion is a part of the production process.废物处理是生产过程的一个组成部分。
50 pier U22zk     
n.码头;桥墩,桥柱;[建]窗间壁,支柱
参考例句:
  • The pier of the bridge has been so badly damaged that experts worry it is unable to bear weight.这座桥的桥桩破损厉害,专家担心它已不能负重。
  • The ship was making towards the pier.船正驶向码头。
51 quotation 7S6xV     
n.引文,引语,语录;报价,牌价,行情
参考例句:
  • He finished his speech with a quotation from Shakespeare.他讲话结束时引用了莎士比亚的语录。
  • The quotation is omitted here.此处引文从略。
52 citation 1qyzo     
n.引用,引证,引用文;传票
参考例句:
  • He had to sign the proposition for the citation.他只好在受奖申请书上签了字。
  • The court could issue a citation and fine Ms. Robbins.法庭可能会发传票,对罗宾斯女士处以罚款。
53 scattered 7jgzKF     
adj.分散的,稀疏的;散步的;疏疏落落的
参考例句:
  • Gathering up his scattered papers,he pushed them into his case.他把散乱的文件收拾起来,塞进文件夹里。
54 sterling yG8z6     
adj.英币的(纯粹的,货真价实的);n.英国货币(英镑)
参考例句:
  • Could you tell me the current rate for sterling, please?能否请您告诉我现行英国货币的兑换率?
  • Sterling has recently been strong,which will help to abate inflationary pressures.英国货币最近非常坚挺,这有助于减轻通胀压力。
55 abridge XIUyG     
v.删减,删节,节略,缩短
参考例句:
  • They are going to abridge that dictionary.他们将要精简那本字典。
  • He decided to abridge his stay here after he received a letter from home.他接到家信后决定缩短在这里的逗留时间。
56 copious koizs     
adj.丰富的,大量的
参考例句:
  • She supports her theory with copious evidences.她以大量的例证来充实自己的理论。
  • Every star is a copious source of neutrinos.每颗恒星都是丰富的中微子源。
57 sonnet Lw9wD     
n.十四行诗
参考例句:
  • The composer set a sonnet to music.作曲家为一首十四行诗谱了曲。
  • He wrote a sonnet to his beloved.他写了一首十四行诗,献给他心爱的人。
58 purgatory BS7zE     
n.炼狱;苦难;adj.净化的,清洗的
参考例句:
  • Every step of the last three miles was purgatory.最后3英里时每一步都像是受罪。
  • Marriage,with peace,is this world's paradise;with strife,this world's purgatory.和谐的婚姻是尘世的乐园,不和谐的婚姻则是人生的炼狱。
59 alludes c60ee628ca5282daa5b0a246fd29c9ff     
提及,暗指( allude的第三人称单数 )
参考例句:
  • In the vegetable kingdom Mr. Mivart only alludes to two cases. 在植物界中,密伐脱先生仅提出两点。
  • Black-box testing alludes to test that are conducted at the software interface. 黑箱测试是指测试软件接口进行。
60 thoroughly sgmz0J     
adv.完全地,彻底地,十足地
参考例句:
  • The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
  • The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。
61 conversant QZkyG     
adj.亲近的,有交情的,熟悉的
参考例句:
  • Mr.Taylor is thoroughly conversant with modern music.泰勒先生对现代音乐很精通。
  • We become the most conversant stranger in the world.我们变成了世界上最熟悉的陌生人。
62 originality JJJxm     
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。
63 accurately oJHyf     
adv.准确地,精确地
参考例句:
  • It is hard to hit the ball accurately.准确地击中球很难。
  • Now scientists can forecast the weather accurately.现在科学家们能准确地预报天气。
64 eminent dpRxn     
adj.显赫的,杰出的,有名的,优良的
参考例句:
  • We are expecting the arrival of an eminent scientist.我们正期待一位著名科学家的来访。
  • He is an eminent citizen of China.他是一个杰出的中国公民。
65 esteem imhyZ     
n.尊敬,尊重;vt.尊重,敬重;把…看作
参考例句:
  • I did not esteem him to be worthy of trust.我认为他不值得信赖。
  • The veteran worker ranks high in public love and esteem.那位老工人深受大伙的爱戴。
66 derived 6cddb7353e699051a384686b6b3ff1e2     
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取
参考例句:
  • Many English words are derived from Latin and Greek. 英语很多词源出于拉丁文和希腊文。 来自《简明英汉词典》
  • He derived his enthusiasm for literature from his father. 他对文学的爱好是受他父亲的影响。 来自《简明英汉词典》
67 engraver 981264c2d40509441da993435b4f1c59     
n.雕刻师,雕工
参考例句:
  • He was a sketcher and a copper-plate engraver. 他也是杰出的素描家和铜版画家。 来自辞典例句
  • He was once an engraver in a printing factory. 他以前是印刷厂的一名刻工。 来自互联网
68 skilful 8i2zDY     
(=skillful)adj.灵巧的,熟练的
参考例句:
  • The more you practise,the more skilful you'll become.练习的次数越多,熟练的程度越高。
  • He's not very skilful with his chopsticks.他用筷子不大熟练。
69 orb Lmmzhy     
n.太阳;星球;v.弄圆;成球形
参考例句:
  • The blue heaven,holding its one golden orb,poured down a crystal wash of warm light.蓝蓝的天空托着金色的太阳,洒下一片水晶般明亮温暖的光辉。
  • It is an emanation from the distant orb of immortal light.它是从远处那个发出不灭之光的天体上放射出来的。
70 deriving 31b45332de157b636df67107c9710247     
v.得到( derive的现在分词 );(从…中)得到获得;源于;(从…中)提取
参考例句:
  • I anticipate deriving much instruction from the lecture. 我期望从这演讲中获得很多教益。 来自《简明英汉词典》
  • He anticipated his deriving much instruction from the lecture. 他期望从这次演讲中得到很多教益。 来自辞典例句
71 distinguished wu9z3v     
adj.卓越的,杰出的,著名的
参考例句:
  • Elephants are distinguished from other animals by their long noses.大象以其长长的鼻子显示出与其他动物的不同。
  • A banquet was given in honor of the distinguished guests.宴会是为了向贵宾们致敬而举行的。
72 conjured 227df76f2d66816f8360ea2fef0349b5     
用魔术变出( conjure的过去式和过去分词 ); 祈求,恳求; 变戏法; (变魔术般地) 使…出现
参考例句:
  • He conjured them with his dying breath to look after his children. 他临终时恳求他们照顾他的孩子。
  • His very funny joke soon conjured my anger away. 他讲了个十分有趣的笑话,使得我的怒气顿消。
73 omission mjcyS     
n.省略,删节;遗漏或省略的事物,冗长
参考例句:
  • The omission of the girls was unfair.把女孩排除在外是不公平的。
  • The omission of this chapter from the third edition was a gross oversight.第三版漏印这一章是个大疏忽。
74 excellence ZnhxM     
n.优秀,杰出,(pl.)优点,美德
参考例句:
  • His art has reached a high degree of excellence.他的艺术已达到炉火纯青的地步。
  • My performance is far below excellence.我的表演离优秀还差得远呢。
75 engraves 9fb2264372297595b50ccf6cc2504475     
v.在(硬物)上雕刻(字,画等)( engrave的第三人称单数 );将某事物深深印在(记忆或头脑中)
参考例句:
  • Pride engraves his frowns in stones, love offers her surrender in flowers. 骄傲在石头上刻下他的颦眉,爱情在花朵上献出她的投降。 来自互联网
  • One who cuts, polishes, or engraves gems. 玉石匠开凿、磨光或雕刻''。'玉石'。''的人。 来自互联网
76 diminutive tlWzb     
adj.小巧可爱的,小的
参考例句:
  • Despite its diminutive size,the car is quite comfortable.尽管这辆车很小,但相当舒服。
  • She has diminutive hands for an adult.作为一个成年人,她的手显得非常小。
77 behold jQKy9     
v.看,注视,看到
参考例句:
  • The industry of these little ants is wonderful to behold.这些小蚂蚁辛勤劳动的样子看上去真令人惊叹。
  • The sunrise at the seaside was quite a sight to behold.海滨日出真是个奇景。
78 testimony zpbwO     
n.证词;见证,证明
参考例句:
  • The testimony given by him is dubious.他所作的证据是可疑的。
  • He was called in to bear testimony to what the police officer said.他被传入为警官所说的话作证。
79 corroborated ab27fc1c50e7a59aad0d93cd9f135917     
v.证实,支持(某种说法、信仰、理论等)( corroborate的过去式 )
参考例句:
  • The evidence was corroborated by two independent witnesses. 此证据由两名独立证人提供。
  • Experiments have corroborated her predictions. 实验证实了她的预言。 来自《简明英汉词典》
80 remarkable 8Vbx6     
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。
81 ornament u4czn     
v.装饰,美化;n.装饰,装饰物
参考例句:
  • The flowers were put on the table for ornament.花放在桌子上做装饰用。
  • She wears a crystal ornament on her chest.她的前胸戴了一个水晶饰品。
82 conclusive TYjyw     
adj.最后的,结论的;确凿的,消除怀疑的
参考例句:
  • They produced some fairly conclusive evidence.他们提供了一些相当确凿的证据。
  • Franklin did not believe that the French tests were conclusive.富兰克林不相信这个法国人的实验是结论性的。
83 bibliophile 8NAzN     
n.爱书者;藏书家
参考例句:
  • Ted loves everything about books.He is a real bibliophile.泰德喜爱所有与书籍有关的事物。他真是一个爱书人。
  • Zhou zuoren is not just a famous author and critics in contemporary history of china,but also an influential bibliophile.周作人不仅是中国现代著名的作家和评论家,也是一位有影响的藏书家。
84 cannon 3T8yc     
n.大炮,火炮;飞机上的机关炮
参考例句:
  • The soldiers fired the cannon.士兵们开炮。
  • The cannon thundered in the hills.大炮在山间轰鸣。
85 laudatory HkPyI     
adj.赞扬的
参考例句:
  • Now,when Carrie heard Drouet's laudatory opinion of her dramatic ability,her body tingled with satisfaction.听到杜洛埃这么称道自己的演戏才能,她心满意足精神振奋。
  • Her teaching evaluations are among the most laudatory in this department.她的教学评估在本系是居最受颂扬者之中。
86 replete BBBzd     
adj.饱满的,塞满的;n.贮蜜蚁
参考例句:
  • He was replete with food and drink.他吃喝得饱饱的。
  • This immense space may be replete with happiness and glory.这巨大的空间可能充满了幸福和光荣。
87 dissertation PlezS     
n.(博士学位)论文,学术演讲,专题论文
参考例句:
  • He is currently writing a dissertation on the Somali civil war.他目前正在写一篇关于索马里内战的论文。
  • He was involved in writing his doctoral dissertation.他在聚精会神地写他的博士论文。
88 travail ZqhyZ     
n.阵痛;努力
参考例句:
  • Mothers know the travail of giving birth to a child.母亲们了解分娩时的痛苦。
  • He gained the medal through his painful travail.他通过艰辛的努力获得了奖牌。
89 conjectures 8334e6a27f5847550b061d064fa92c00     
推测,猜想( conjecture的名词复数 )
参考例句:
  • That's weighing remote military conjectures against the certain deaths of innocent people. 那不过是牵强附会的军事假设,而现在的事实却是无辜者正在惨遭杀害,这怎能同日而语!
  • I was right in my conjectures. 我所猜测的都应验了。
90 tout iG7yL     
v.推销,招徕;兜售;吹捧,劝诱
参考例句:
  • They say it will let them tout progress in the war.他们称这将有助于鼓吹他们在战争中的成果。
  • If your case studies just tout results,don't bother requiring registration to view them.如果你的案例研究只是吹捧结果,就别烦扰别人来注册访问了。
91 genre ygPxi     
n.(文学、艺术等的)类型,体裁,风格
参考例句:
  • My favorite music genre is blues.我最喜欢的音乐种类是布鲁斯音乐。
  • Superficially,this Shakespeare's work seems to fit into the same genre.从表面上看, 莎士比亚的这个剧本似乎属于同一类型。
92 margin 67Mzp     
n.页边空白;差额;余地,余裕;边,边缘
参考例句:
  • We allowed a margin of 20 minutes in catching the train.我们有20分钟的余地赶火车。
  • The village is situated at the margin of a forest.村子位于森林的边缘。
93 perfectly 8Mzxb     
adv.完美地,无可非议地,彻底地
参考例句:
  • The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
  • Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。
94 watts c70bc928c4d08ffb18fc491f215d238a     
(电力计量单位)瓦,瓦特( watt的名词复数 )
参考例句:
  • My lamp uses 60 watts; my toaster uses 600 watts. 我的灯用60瓦,我的烤面包器用600瓦。
  • My lamp uses 40 watts. 我的灯40瓦。
95 consultation VZAyq     
n.咨询;商量;商议;会议
参考例句:
  • The company has promised wide consultation on its expansion plans.该公司允诺就其扩展计划广泛征求意见。
  • The scheme was developed in close consultation with the local community.该计划是在同当地社区密切磋商中逐渐形成的。
96 connoisseurs 080d8735dcdb8dcf62724eb3f35ad3bc     
n.鉴赏家,鉴定家,行家( connoisseur的名词复数 )
参考例句:
  • Let us go, before we offend the connoisseurs. 咱们走吧,免得我们惹恼了收藏家。 来自辞典例句
  • The connoisseurs often associate it with a blackcurrant flavor. 葡萄酒鉴赏家们通常会将它跟黑醋栗口味联系起来。 来自互联网
97 arduous 5vxzd     
adj.艰苦的,费力的,陡峭的
参考例句:
  • We must have patience in doing arduous work.我们做艰苦的工作要有耐性。
  • The task was more arduous than he had calculated.这项任务比他所估计的要艰巨得多。
98 varied giIw9     
adj.多样的,多变化的
参考例句:
  • The forms of art are many and varied.艺术的形式是多种多样的。
  • The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。


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