Unlike Beethoven who, from choice as well as necessity, lived most frugally9 and solitary10 as a lion in his den11, Chopin was somewhat of a Sybarite in his tastes, and, furthermore, improvident12 and accustomed to extravagant13 expenditures14. Therefore, while esteeming15 himself at par8 value as a composer, he was of necessity a teacher also. In addition to the distractions16 and fatigues17 of regular lesson-giving, an ever-present misfortune, a wasting and fatal malady18, crippled what should have been his years of physical prime. Yet despite all that certainly hindered and probably impaired19 the result of Chopin's Parisian years of creative effort, that result may be summarized as follows:
First and foremost, are those ?Soul-animating strains, alas20 too few!? the four incomparable Ballades of which Schumann said that a poet inspired them, and a poet might easily write words to them. In the Ballades, Chopin encompasses21 a height and breadth and depth elsewhere unattained in his works. Here the local is indeed outgrown23, and almost the universal is in the sweep of his vision. Abreast24 of the bardic25 view, he develops a world theme, he rings a story of the antique and the modern.
Next in enumeration26 come the great Polonaises, epics28 of Poland in heroic meter, Iliads of battle on her native soil. The bitter taunt29 of rage and scorn; the hurled30 defiance31 and the fierce reply; the rush, the crash of the onset32; the broken swords and splintered lances; the vanquished33 rider and the fallen war-horse; the anguished34 cries of dying men; the hopeless wail35 of captives; the harsh rattle36 of galling37 chains; the deep and solemn notes of dirge38. Iliads of Poland! Iliads of her olden glory and her prone39 defeat; and then an Iliad of her proud-arisen days to be!
In marked contrast, and therefore proving the versatility41 of Chopin, we have what outlasts43 a thousand ballroom44 waltzes every one of which, like the gay butterfly, joys through its little day and then is gone forever. Of the poetic45 and perfect Waltzes of Chopin, evidently not written for the mere46 dancer, may be instanced the one in A flat op. 42; also the set of three op. 34. The second of them, tenderly melancholy47 in both minor48 and major, was an especial favorite of its author. Nor should we overlook the celebrated49 waltz in D flat which, while fulfilling all musical requirements, has proved universally popular, being, in fact, what its history indicates, the unpremeditated outpour of a happy hour.
The greater number of the forty-one Mazurkas published by Chopin, date from the Paris period. They are easy of execution and often brief, some being held within the limits of sixty measures. In these Mazurkas the poet of the epic27 turns to polish the line, the stanza50; the painter of the heroic perfects the miniature. Each Mazurka is a tiny picture of Polish life; a little draught51 from the well of Polish folk-song. How readily these dances lend themselves to an exaggerated rubato, the common fault of would-be interpreters!
Because of its noble, singing quality, the key of D flat was chosen for some of Chopin's most exquisite52 melodies. In this markedly individual key, whose tone color is but the veil of some unimagined splendor53, was set the ?Berceuse,? most ethereal and lovely of cradle songs. A sweet murmur54 of waters, it glides55 and ripples56 and gently falls from no earth-born spring. No upland snows make clear its limpid57, winding58 way. From loftier far than ever rain-clouds find, the home of innocence59 which slumbering60 infancy61 beholds62, it brings of Wisdom's fount what, hidden from the wise, is yet revealed to babes.
Another of the Paris pieces is the somewhat long Barcarolle in nocturne form; an Italian scene beneath the skies of Venice. Not the palaced Venice of marble and porphyry and alabaster63, but that mobile Venice which mirrors the rising moon touched at times by filmy shades, yet light enough for lovers borne upon the sparkling tides. Though devoid64 of striking contrasts, this Barcarolle contains probably more of variety than Mendelssohn could have woven into it.
In Paris were composed all save one of the nineteen Nocturnes bearing the name of Chopin. On these, and the Polonaise in A major, and such Waltzes as op. 18 in E flat, mostly rests his popular estimate.
As a producer in this lighter65 vein66, Chopin encounters no rival. A few, a very few of the earlier Nocturnes betray the influence of John Field originator of this somewhat sentimental67 style of salon68 music; but shortly the Chopinesque quality asserts itself and lo, the night of lulled69 winds, heavy with the tropical odor of flowers! Night of indolent southern stars, and the chaste70 Diana grown languorous71 and tender! Night of little clouds that weep they know not why! Night of the bashful, subdued72 bird that lifts not to the cheerful sun his notes of love and grief and yearning73.
Without underestimating the musical and technical value of Clementi's ?Gradus ad Parnassum? on whose broad and solid foundation rests all modern pianoforte playing, and without in the least belittling74 the contributions of Cramer, it may be asserted that the Etudes of Chopin are revelations in technique. Of all their class, they alone anticipate the virtuoso75 requirements of to-day, while some, like Nos. 3 and 6 of op. 10, are, as inspired music, unmatched in the world's repertory of piano studies. Painstaking76 authorities have edited, and eminent77 critics have almost extravagantly78 praised them. Hunaker holds them monumental of our nineteenth century attainment79 in piano music. However, Chopin's twenty-seven Etudes have little place in this present enumeration, for, excepting two or three in the second book, op. 25, they, like the Concertos80, the Bolero, the Rondos op. 1 and op. 16, and the Variations op. 2, all of them antedate81 the year 1831.
The weight of evidence would prove that of the twenty-four Preludes82 op. 28, the bulk was composed prior to Chopin's visit to Majorca in 1839. Schumann called them ?ruins, eagle feathers all strangely intermingled.? To Kullak they are ?little masterpieces of the first rank.? Hunaker holds them ?a sheaf of moods.? Rubinstein believes them the pearls of Chopin's works. They are in fact autobiographical poems in brief stanzas83. Though we grant the excellence84 and completeness of many, and the individuality of all these Preludes, certain of them seemed fragmentary. The sixteen measures comprised in No. 7, may be the sole remnant of some discarded Mazurka. Those thirteen measures of solemn moving chords in C minor, the total of No. 20, suggest the episode in the G minor Nocturne, and may have been preserved from some such composition.
We have, by Chopin, four Impromptus85 all written later than the year 1831: op. 29 in A flat, op. 36 in F sharp major, op. 51 in G flat, and the posthumous87 Fantaisie-Impromptu86 in C sharp minor. The word Impromptu is usually a misnomer88 betraying, to the discerning, the vanity of an author who would have his public suppose him capable of off-hand effusions in all ways superior to the careful work of others.
That Chopin is here not altogether innocent is at once shown by the premeditated consecutive89 minor ninths between the melody and accompaniment in the first and second measures of op. 29. The six introductory measures of op. 36 are a carefully written two-part bass90 which, blending with the treble melody entering at the seventh measure, forms with it a three-part harmony worthy91 of the most painstaking writer. In op. 51, Chopin is chromatic92 and winding and premeditating as is his wont93. Op. 66 comes nearest the title, ?Impromptu.? Interest here centers in the right hand, which, throughout the first and the third sections, is an uninterrupted torrent94 of semiquavers, and, in the D flat middle movement, is a sustained and melodious95 cantabile which yet is not the master's true cantabile, that noble and tender and pensive96 poetry pervading97, for instance, the con40 anima of the B flat minor Scherzo.
The instrumental music of Haydn and Mozart furnishes many models of the true Scherzo. The Sonatas98 and Symphonies of Beethoven exhibit in its fullness this evolution of the old Minuet, but, coming to the four Scherzos of Chopin, the mere classifier is puzzled and halted while the real musician is exalted100 and led onward101. Leaving the consideration of name and structure and logical sequence to the hypercritical, he enters without cavil102 this unique, forest-encompassed temple of art where joy and laughter indeed are not, for an elegiac sadness murmurs103 from the over-roofing green, and oftentimes the winds without, those whisperers in their woodland tongue, will swell104 to impassioned euphony105 or hopeless, wild lament106, and suddenly midst Nature's momentary107 hush108, a solemn, deep-toned temple hymn109 is breathed around, and then, above, the swaying branches make their moan anew, and hark! the harsh, capricious blast is pouring once again its tale of wretchedness and woe110.
The mind of Chopin, like that of every man and woman of true genius, exhibits both male and female characteristics, for the sexless human soul, the source of those characteristics, would stamp itself clearly and wholly on the impressionable brain of such as he. Chopin's masculineness, so often in abeyance111, as throughout the Nocturnes, at once asserts itself in the noble Fantaisie op. 49, whose recurring112 first figure requires no fortissimo to drive it deep into the heart.
The true genius has his moment when, sole and venturous, he lifts him loftier than the eagle. The sun beyond—the light he failed to reach—did it not from the airless heaven scorn his defeat and leave him humbled113 in the height? And yet the tree-tops, far beneath upon the mountain, were proud with wings that never dared as he. Many fanciful and imaginative interpretations114 we have of that empyrean flight the F minor Fantaisie, but, as if too conscious of failure in the unattainable, the author would discredit115 them all with a commonplace explanation.
Inevitably the collected works of great authors, in whatever department, contain that which as a whole adds little or nothing to their eminent reputation. Of the works of Chopin's mature years, the Allegro116 de Concert, the Tarantelle, and the Rondo op. 16, belong in this category. And yet any of these, the first especially, would make famous a pianoforte composer not already high in the first rank.
Chopin, as we have seen, studied well the compositions of Bach, and to that study should be traced his comprehensive knowledge of harmonic possibilities. This is wholly proved by his every important work; but in daring how he distances the profound and methodical contrapuntist of Leipsic! Only Wagner and Richard Strauss are bolder than he. As a harmonist Chopin was bent117 on notable things, and with equal zeal118 he essayed that most difficult and hazardous119 of undertakings120, the Sonata99. Had our Romanticist but given to the pianoforte Sonatas of Beethoven somewhat of those hours devoted121 to ?The Well-tempered Clavichord,? the effect on op. 35 and op. 58, probably had been an enrichment of our repertory of high-class piano Sonatas. After all, the Sonata is a perfected growth of Classicism, and so lends itself most ungraciously to the looser treatment of the Romanticist, for it demands not only sequence of ideas and systematic122 development of themes, but also a unification of its constituent123 movements that as a whole it shall be homogeneous.
During his Parisian career, Chopin composed three Sonatas, op. 35 and op. 58, for piano, and op. 65, for piano and violoncello. This last, a most unequal work, has provoked more of adverse124 criticism than any other bearing his name.
Chopin's chief defect, one almost always apparent, originated in his somewhat narrow sympathies, which, though deep, did yet by no means fathom125 the joys underlying126 and destined127 to outlast42 the waves of sorrow, which, to his circumscribed128 vision, were sufficient for the engulfing129 of the world. What, we ask, was the partition, the virtual obliteration130 of Poland, to that universal freedom, which, since the Napoleonic days, was known as a blessing131 yet to be? As already said, Chopin allowed these earth-clouds of sorrow to darken greatly the radiance of his ideal world. The pessimist132 could not sink himself in the deeper and wider optimist133. We suspect his predilection134 for the gay and thoughtless dwellers135 on the surface of life, to be but desire to rid himself of a weight of sadness engendered136 by solitary musings.
The Sonata should be the outpouring of a heart attuned138 to every chord of life; a heart capable of universal sympathies. Nevertheless, the supreme139 expression of that heart is joy, a prophecy hopeful as a Christmas greeting to the world. Let us turn to a consideration of op. 35 in B flat minor, for there, as nowhere else, Chopin betrays the defects of his qualities.
The four vague introductory measures, ?Grave,? attempt the expression of unutterable woe whose painful fullness is yet relieved by this anguished cry. During the next four measures the soul, still overburdened, meditates140 a more adequate expression, and, at the Agitato, again attempts its story in what proves but an interrupted and broken eloquence141 of grief whose poignancy142 soon softens143 to tender, sweet regret. This presently swells144 to passionate145 longing146 as for some far-off good. But alas for expectance! Alas for every looked-for happiness gilded147 by the sunlight of a day that shall not be! This last mood, so characteristic of Chopin, ends the first section of the first movement, and then suddenly but inevitably come back the old brooding and the tearful, sob-choked utterance148. And now a calmer moment for, as from the Sun of all being, a ray of heaven-born cheer finds the darkened chambers149 of the heart; but whatsoever150 of hope is there enkindled, is, by sorrow's unstayable fountain, soon made cold again.
In almost no one succeeding bar of the four movements comprised in this so-called Sonata, does a note of real joy leap forth151 from the funereal152 throng153. Even the più lento of the Scherzo seems to say, ?Whatever we feel, let us be outwardly cheerful!? Ah yes! But then this outwardness misleads no observer, for the suffused154 eye betrays the smiling lips, and laughter is the adroit155 but ineffectual turning of a sigh.
The Presto156 was abhorrent157 to Mendelssohn. A normal, happy being, he was born into the sunshine and green of a happy world, and his heart had not been plowed158 and harrowed, and then planted with the black-berried nightshade and all the baneful159 things of death. So he turned from this ?Dark tarn160 of Auber? to the Chopin of meads and banks where no bird of midnight mood is croaking161 and the wholesome162 winds blow never from the ?ghoul haunted woodland of Weir,? and the lithe163 branches are waving ?olian at eve.
In the Sonata op. 26 in A flat, Beethoven rightly placed amidst a contrasting environment the immortal164 ?Marcia funebre sulla morte d'un Eroe.? Amidst the almost unmitigated gloom of the B flat minor Sonata, Chopin has inserted a commemoration worthy of many heroes. But who were the heroes inspiring the Polish composer to one of his grandest thoughts, the unsurpassable Funeral March? Yes, who in truth were those dedicated165 heroes? Surely not the great achievers whom the wide world esteems166, but rather those losing heroes hopeful in a hopeless cause; those fallen patriots167 of Polish blood whose mangled168 forms the iron hoofs169 of war had trampled170 in the mire171 of battle.
In the prevailing172 key of his Sonata, the key of B flat minor, one of the most sombre in all the realms of tone, Chopin's Funeral March at once reveals itself as no chapter of private sorrows; the mourning of a multitude is in its deep-voiced chords telling the burial of a people's loss. Fit for the final pageant173 of emperors and kings, yet little varied174 as the monotone of some grave discourse175, the weighty measures move majestically176 and slow while everywhere bared heads are bending, and the dull, despondent177 look is downward for now the dust shall hide yon poor reminder178 of a vanished life. Ah, how those earth-bound chords, for less than two brief measures, struggle free and lift us on their glorious, upward wings! Alas, they falter179 ere yet they attain22, and then, in feebler soaring, turn and sink exhausted180 to the very charnel place of Death. Once more with mighty181 final strength the massive chords are mounting only to falter and attempt and fall again even to the dismal182 housing of the dead. Then, suddenly unto that comfortless abode183 a song of heaven is wafted184 from her angel choir185. At once complaining Doubt is dumb, and Sorrow hath her respite186, and Hope her sweet uplooking to the rest of heroes from their finished days. Long afterward187, when acute grief has changed to pensive musing137, that song in tones of unforgettable beauty steals upon the silence of the soul; a tender message from the never-dying dead.
But whatever of balm in such serene188 outpouring, the torn heart must look for ease to Time the great healer, and so the deep wounds reopen, the insurmountable doubt and grief again are undergone, and in this wise the sublime189 march, so masterfully epitomizing certain human experiences, draws to its pathetic close and ends on the sombre chord which characterized its beginning.
点击
收听单词发音
收听单词发音 |
1
obtuse
|
|
| adj.钝的；愚钝的 | |
参考例句： |
|
|
|
|
2
vented
|
|
| 表达，发泄（感情，尤指愤怒）( vent的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
3
wrath
|
|
| n.愤怒，愤慨，暴怒 | |
参考例句： |
|
|
|
|
4
abrupt
|
|
| adj.突然的，意外的；唐突的，鲁莽的 | |
参考例句： |
|
|
|
|
5
mingled
|
|
| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
参考例句： |
|
|
|
|
6
loathing
|
|
| n.厌恶，憎恨v.憎恨，厌恶( loathe的现在分词)；极不喜欢 | |
参考例句： |
|
|
|
|
7
inevitably
|
|
| adv.不可避免地；必然发生地 | |
参考例句： |
|
|
|
|
8
par
|
|
| 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： |
|
|
|
|
9
frugally
|
|
| adv. 节约地, 节省地 | |
参考例句： |
|
|
|
|
10
solitary
|
|
| adj.孤独的，独立的，荒凉的；n.隐士 | |
参考例句： |
|
|
|
|
11
den
|
|
| n.兽穴；秘密地方；安静的小房间，私室 | |
参考例句： |
|
|
|
|
12
improvident
|
|
| adj.不顾将来的，不节俭的，无远见的 | |
参考例句： |
|
|
|
|
13
extravagant
|
|
| adj.奢侈的；过分的；(言行等)放肆的 | |
参考例句： |
|
|
|
|
14
expenditures
|
|
| n.花费( expenditure的名词复数 )；使用；（尤指金钱的）支出额；（精力、时间、材料等的）耗费 | |
参考例句： |
|
|
|
|
15
esteeming
|
|
| v.尊敬( esteem的现在分词 )；敬重；认为；以为 | |
参考例句： |
|
|
|
|
|
16
distractions
|
|
| n.使人分心的事[人]( distraction的名词复数 )；娱乐，消遣；心烦意乱；精神错乱 | |
参考例句： |
|
|
|
|
17
fatigues
|
|
| n.疲劳( fatigue的名词复数 )；杂役；厌倦；（士兵穿的）工作服 | |
参考例句： |
|
|
|
|
18
malady
|
|
| n.病，疾病(通常做比喻) | |
参考例句： |
|
|
|
|
19
impaired
|
|
| adj.受损的；出毛病的；有（身体或智力）缺陷的v.损害，削弱( impair的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
20
alas
|
|
| int.唉(表示悲伤、忧愁、恐惧等) | |
参考例句： |
|
|
|
|
21
encompasses
|
|
| v.围绕( encompass的第三人称单数 )；包围；包含；包括 | |
参考例句： |
|
|
|
|
22
attain
|
|
| vt.达到，获得，完成 | |
参考例句： |
|
|
|
|
23
outgrown
|
|
| 长[发展] 得超过（某物）的范围( outgrow的过去分词 )； 长[发展]得不能再要（某物）； 长得比…快； 生长速度超过 | |
参考例句： |
|
|
|
|
24
abreast
|
|
| adv.并排地；跟上(时代)的步伐，与…并进地 | |
参考例句： |
|
|
|
|
25
bardic
|
|
| adj.吟游诗人的 | |
参考例句： |
|
|
|
|
26
enumeration
|
|
| n.计数，列举；细目；详表；点查 | |
参考例句： |
|
|
|
|
27
epic
|
|
| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
参考例句： |
|
|
|
|
28
epics
|
|
| n.叙事诗( epic的名词复数 )；壮举；惊人之举；史诗般的电影（或书籍） | |
参考例句： |
|
|
|
|
29
taunt
|
|
| n.辱骂，嘲弄；v.嘲弄 | |
参考例句： |
|
|
|
|
30
hurled
|
|
| v.猛投，用力掷( hurl的过去式和过去分词 )；大声叫骂 | |
参考例句： |
|
|
|
|
31
defiance
|
|
| n.挑战，挑衅，蔑视，违抗 | |
参考例句： |
|
|
|
|
32
onset
|
|
| n.进攻，袭击，开始，突然开始 | |
参考例句： |
|
|
|
|
33
vanquished
|
|
| v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制 | |
参考例句： |
|
|
|
|
34
anguished
|
|
| adj.极其痛苦的v.使极度痛苦(anguish的过去式) | |
参考例句： |
|
|
|
|
35
wail
|
|
| vt./vi.大声哀号，恸哭；呼啸，尖啸 | |
参考例句： |
|
|
|
|
36
rattle
|
|
| v.飞奔，碰响；激怒；n.碰撞声；拨浪鼓 | |
参考例句： |
|
|
|
|
37
galling
|
|
| adj.难堪的,使烦恼的,使焦躁的 | |
参考例句： |
|
|
|
|
38
dirge
|
|
| n.哀乐，挽歌，庄重悲哀的乐曲 | |
参考例句： |
|
|
|
|
39
prone
|
|
| adj.(to)易于…的，很可能…的；俯卧的 | |
参考例句： |
|
|
|
|
40
con
|
|
| n.反对的观点，反对者，反对票，肺病；vt.精读，学习，默记；adv.反对地，从反面；adj.欺诈的 | |
参考例句： |
|
|
|
|
41
versatility
|
|
| n.多才多艺，多样性，多功能 | |
参考例句： |
|
|
|
|
42
outlast
|
|
| v.较…耐久 | |
参考例句： |
|
|
|
|
43
outlasts
|
|
| v.比…长久，比…活得长( outlast的第三人称单数 ) | |
参考例句： |
|
|
|
|
|
44
ballroom
|
|
| n.舞厅 | |
参考例句： |
|
|
|
|
45
poetic
|
|
| adj.富有诗意的，有诗人气质的，善于抒情的 | |
参考例句： |
|
|
|
|
46
mere
|
|
| adj.纯粹的；仅仅，只不过 | |
参考例句： |
|
|
|
|
47
melancholy
|
|
| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
参考例句： |
|
|
|
|
48
minor
|
|
| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
参考例句： |
|
|
|
|
49
celebrated
|
|
| adj.有名的，声誉卓著的 | |
参考例句： |
|
|
|
|
50
stanza
|
|
| n.（诗）节，段 | |
参考例句： |
|
|
|
|
51
draught
|
|
| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
参考例句： |
|
|
|
|
52
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
53
splendor
|
|
| n.光彩；壮丽，华丽；显赫，辉煌 | |
参考例句： |
|
|
|
|
54
murmur
|
|
| n.低语，低声的怨言；v.低语，低声而言 | |
参考例句： |
|
|
|
|
55
glides
|
|
| n.滑行( glide的名词复数 )；滑音；音渡；过渡音v.滑动( glide的第三人称单数 )；掠过；（鸟或飞机 ） 滑翔 | |
参考例句： |
|
|
|
|
56
ripples
|
|
| 逐渐扩散的感觉( ripple的名词复数 ) | |
参考例句： |
|
|
|
|
57
limpid
|
|
| adj.清澈的，透明的 | |
参考例句： |
|
|
|
|
58
winding
|
|
| n.绕，缠，绕组，线圈 | |
参考例句： |
|
|
|
|
59
innocence
|
|
| n.无罪；天真；无害 | |
参考例句： |
|
|
|
|
60
slumbering
|
|
| 微睡，睡眠（slumber的现在分词形式） | |
参考例句： |
|
|
|
|
61
infancy
|
|
| n.婴儿期；幼年期；初期 | |
参考例句： |
|
|
|
|
62
beholds
|
|
| v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
参考例句： |
|
|
|
|
63
alabaster
|
|
| adj.雪白的；n.雪花石膏；条纹大理石 | |
参考例句： |
|
|
|
|
64
devoid
|
|
| adj.全无的，缺乏的 | |
参考例句： |
|
|
|
|
65
lighter
|
|
| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
参考例句： |
|
|
|
|
66
vein
|
|
| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
参考例句： |
|
|
|
|
67
sentimental
|
|
| adj.多愁善感的，感伤的 | |
参考例句： |
|
|
|
|
68
salon
|
|
| n.[法]沙龙；客厅；营业性的高级服务室 | |
参考例句： |
|
|
|
|
69
lulled
|
|
| vt.使镇静，使安静（lull的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
70
chaste
|
|
| adj.贞洁的；有道德的；善良的；简朴的 | |
参考例句： |
|
|
|
|
71
languorous
|
|
| adj.怠惰的，没精打采的 | |
参考例句： |
|
|
|
|
72
subdued
|
|
| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
参考例句： |
|
|
|
|
73
yearning
|
|
| a.渴望的；向往的；怀念的 | |
参考例句： |
|
|
|
|
74
belittling
|
|
| 使显得微小，轻视，贬低( belittle的现在分词 ) | |
参考例句： |
|
|
|
|
75
virtuoso
|
|
| n.精于某种艺术或乐器的专家，行家里手 | |
参考例句： |
|
|
|
|
76
painstaking
|
|
| adj.苦干的；艰苦的，费力的，刻苦的 | |
参考例句： |
|
|
|
|
77
eminent
|
|
| adj.显赫的，杰出的，有名的，优良的 | |
参考例句： |
|
|
|
|
78
extravagantly
|
|
| adv.挥霍无度地 | |
参考例句： |
|
|
|
|
79
attainment
|
|
| n.达到，到达；［常pl.］成就，造诣 | |
参考例句： |
|
|
|
|
80
concertos
|
|
| n. [音]协奏曲 | |
参考例句： |
|
|
|
|
81
antedate
|
|
| vt.填早...的日期，早干，先干 | |
参考例句： |
|
|
|
|
82
preludes
|
|
| n.开端( prelude的名词复数 )；序幕；序曲；短篇作品 | |
参考例句： |
|
|
|
|
83
stanzas
|
|
| 节，段( stanza的名词复数 ) | |
参考例句： |
|
|
|
|
84
excellence
|
|
| n.优秀，杰出，(pl.)优点，美德 | |
参考例句： |
|
|
|
|
85
impromptus
|
|
| n.即兴曲( impromptu的名词复数 ) | |
参考例句： |
|
|
|
|
86
impromptu
|
|
| adj.即席的，即兴的；adv.即兴的(地)，无准备的(地) | |
参考例句： |
|
|
|
|
87
posthumous
|
|
| adj.遗腹的；父亡后出生的；死后的，身后的 | |
参考例句： |
|
|
|
|
88
misnomer
|
|
| n.误称 | |
参考例句： |
|
|
|
|
89
consecutive
|
|
| adj.连续的，联贯的，始终一贯的 | |
参考例句： |
|
|
|
|
90
bass
|
|
| n.男低音(歌手)；低音乐器；低音大提琴 | |
参考例句： |
|
|
|
|
91
worthy
|
|
| adj.(of)值得的，配得上的；有价值的 | |
参考例句： |
|
|
|
|
92
chromatic
|
|
| adj.色彩的，颜色的 | |
参考例句： |
|
|
|
|
93
wont
|
|
| adj.习惯于；v.习惯；n.习惯 | |
参考例句： |
|
|
|
|
94
torrent
|
|
| n.激流，洪流；爆发，(话语等的)连发 | |
参考例句： |
|
|
|
|
95
melodious
|
|
| adj.旋律美妙的，调子优美的，音乐性的 | |
参考例句： |
|
|
|
|
96
pensive
|
|
| a.沉思的,哀思的,忧沉的 | |
参考例句： |
|
|
|
|
97
pervading
|
|
| v.遍及，弥漫( pervade的现在分词 ) | |
参考例句： |
|
|
|
|
98
sonatas
|
|
| n.奏鸣曲( sonata的名词复数 ) | |
参考例句： |
|
|
|
|
99
sonata
|
|
| n.奏鸣曲 | |
参考例句： |
|
|
|
|
100
exalted
|
|
| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
参考例句： |
|
|
|
|
101
onward
|
|
| adj.向前的，前进的；adv.向前，前进，在先 | |
参考例句： |
|
|
|
|
102
cavil
|
|
| v.挑毛病，吹毛求疵 | |
参考例句： |
|
|
|
|
103
murmurs
|
|
| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
参考例句： |
|
|
|
|
104
swell
|
|
| vi.膨胀，肿胀；增长，增强 | |
参考例句： |
|
|
|
|
105
euphony
|
|
| n.悦耳的语音 | |
参考例句： |
|
|
|
|
106
lament
|
|
| n.悲叹，悔恨，恸哭；v.哀悼，悔恨，悲叹 | |
参考例句： |
|
|
|
|
107
momentary
|
|
| adj.片刻的，瞬息的；短暂的 | |
参考例句： |
|
|
|
|
108
hush
|
|
| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
参考例句： |
|
|
|
|
109
hymn
|
|
| n.赞美诗，圣歌，颂歌 | |
参考例句： |
|
|
|
|
110
woe
|
|
| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
参考例句： |
|
|
|
|
111
abeyance
|
|
| n.搁置，缓办，中止，产权未定 | |
参考例句： |
|
|
|
|
112
recurring
|
|
| adj.往复的，再次发生的 | |
参考例句： |
|
|
|
|
113
humbled
|
|
| adj. 卑下的，谦逊的，粗陋的 vt. 使 ... 卑下，贬低 | |
参考例句： |
|
|
|
|
114
interpretations
|
|
| n.解释( interpretation的名词复数 )；表演；演绎；理解 | |
参考例句： |
|
|
|
|
115
discredit
|
|
| vt.使不可置信；n.丧失信义；不信，怀疑 | |
参考例句： |
|
|
|
|
116
allegro
|
|
| adj. 快速而活泼的；n.快板；adv.活泼地 | |
参考例句： |
|
|
|
|
117
bent
|
|
| n.爱好，癖好；adj.弯的；决心的，一心的 | |
参考例句： |
|
|
|
|
118
zeal
|
|
| n.热心，热情，热忱 | |
参考例句： |
|
|
|
|
119
hazardous
|
|
| adj.(有)危险的，冒险的；碰运气的 | |
参考例句： |
|
|
|
|
120
undertakings
|
|
| 企业( undertaking的名词复数 )； 保证； 殡仪业； 任务 | |
参考例句： |
|
|
|
|
121
devoted
|
|
| adj.忠诚的，忠实的，热心的，献身于...的 | |
参考例句： |
|
|
|
|
122
systematic
|
|
| adj.有系统的，有计划的，有方法的 | |
参考例句： |
|
|
|
|
123
constituent
|
|
| n.选民；成分，组分；adj.组成的，构成的 | |
参考例句： |
|
|
|
|
124
adverse
|
|
| adj.不利的；有害的；敌对的，不友好的 | |
参考例句： |
|
|
|
|
125
fathom
|
|
| v.领悟，彻底了解 | |
参考例句： |
|
|
|
|
126
underlying
|
|
| adj.在下面的，含蓄的，潜在的 | |
参考例句： |
|
|
|
|
127
destined
|
|
| adj.命中注定的；(for)以…为目的地的 | |
参考例句： |
|
|
|
|
128
circumscribed
|
|
| adj.[医]局限的：受限制或限于有限空间的v.在…周围划线( circumscribe的过去式和过去分词 )；划定…范围；限制；限定 | |
参考例句： |
|
|
|
|
129
engulfing
|
|
| adj.吞噬的v.吞没，包住( engulf的现在分词 ) | |
参考例句： |
|
|
|
|
130
obliteration
|
|
| n.涂去，删除；管腔闭合 | |
参考例句： |
|
|
|
|
131
blessing
|
|
| n.祈神赐福；祷告；祝福，祝愿 | |
参考例句： |
|
|
|
|
132
pessimist
|
|
| n.悲观者；悲观主义者；厌世 | |
参考例句： |
|
|
|
|
133
optimist
|
|
| n.乐观的人，乐观主义者 | |
参考例句： |
|
|
|
|
134
predilection
|
|
| n.偏好 | |
参考例句： |
|
|
|
|
135
dwellers
|
|
| n.居民，居住者( dweller的名词复数 ) | |
参考例句： |
|
|
|
|
136
engendered
|
|
| v.产生（某形势或状况），造成，引起( engender的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
137
musing
|
|
| n. 沉思，冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式 | |
参考例句： |
|
|
|
|
138
attuned
|
|
| v.使协调( attune的过去式和过去分词 )；调音 | |
参考例句： |
|
|
|
|
139
supreme
|
|
| adj.极度的，最重要的；至高的，最高的 | |
参考例句： |
|
|
|
|
140
meditates
|
|
| 深思，沉思，冥想( meditate的第三人称单数 )； 内心策划，考虑 | |
参考例句： |
|
|
|
|
141
eloquence
|
|
| n.雄辩；口才，修辞 | |
参考例句： |
|
|
|
|
142
poignancy
|
|
| n.辛酸事，尖锐 | |
参考例句： |
|
|
|
|
143
softens
|
|
| （使）变软( soften的第三人称单数 )； 缓解打击； 缓和； 安慰 | |
参考例句： |
|
|
|
|
144
swells
|
|
| 增强( swell的第三人称单数 )； 肿胀； （使）凸出； 充满（激情） | |
参考例句： |
|
|
|
|
145
passionate
|
|
| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
参考例句： |
|
|
|
|
146
longing
|
|
| n.（for）渴望 | |
参考例句： |
|
|
|
|
147
gilded
|
|
| a.镀金的，富有的 | |
参考例句： |
|
|
|
|
148
utterance
|
|
| n.用言语表达，话语，言语 | |
参考例句： |
|
|
|
|
149
chambers
|
|
| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
参考例句： |
|
|
|
|
150
whatsoever
|
|
| adv.（用于否定句中以加强语气）任何；pron.无论什么 | |
参考例句： |
|
|
|
|
151
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
152
funereal
|
|
| adj.悲哀的；送葬的 | |
参考例句： |
|
|
|
|
153
throng
|
|
| n.人群，群众；v.拥挤，群集 | |
参考例句： |
|
|
|
|
154
suffused
|
|
| v.（指颜色、水气等）弥漫于，布满( suffuse的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
155
adroit
|
|
| adj.熟练的，灵巧的 | |
参考例句： |
|
|
|
|
156
presto
|
|
| adv.急速地；n.急板乐段；adj.急板的 | |
参考例句： |
|
|
|
|
157
abhorrent
|
|
| adj.可恶的，可恨的，讨厌的 | |
参考例句： |
|
|
|
|
158
plowed
|
|
| v.耕( plow的过去式和过去分词 )；犁耕；费力穿过 | |
参考例句： |
|
|
|
|
159
baneful
|
|
| adj.有害的 | |
参考例句： |
|
|
|
|
160
tarn
|
|
| n.山中的小湖或小潭 | |
参考例句： |
|
|
|
|
161
croaking
|
|
| v.呱呱地叫( croak的现在分词 )；用粗的声音说 | |
参考例句： |
|
|
|
|
162
wholesome
|
|
| adj.适合；卫生的；有益健康的；显示身心健康的 | |
参考例句： |
|
|
|
|
163
lithe
|
|
| adj.(指人、身体)柔软的，易弯的 | |
参考例句： |
|
|
|
|
164
immortal
|
|
| adj.不朽的；永生的，不死的；神的 | |
参考例句： |
|
|
|
|
165
dedicated
|
|
| adj.一心一意的；献身的；热诚的 | |
参考例句： |
|
|
|
|
166
esteems
|
|
| n.尊敬，好评( esteem的名词复数 )v.尊敬( esteem的第三人称单数 )；敬重；认为；以为 | |
参考例句： |
|
|
|
|
167
patriots
|
|
| 爱国者，爱国主义者( patriot的名词复数 ) | |
参考例句： |
|
|
|
|
168
mangled
|
|
| vt.乱砍（mangle的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
169
hoofs
|
|
| n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 ) | |
参考例句： |
|
|
|
|
170
trampled
|
|
| 踩( trample的过去式和过去分词 )； 践踏； 无视； 侵犯 | |
参考例句： |
|
|
|
|
171
mire
|
|
| n.泥沼，泥泞；v.使...陷于泥泞，使...陷入困境 | |
参考例句： |
|
|
|
|
172
prevailing
|
|
| adj.盛行的；占优势的；主要的 | |
参考例句： |
|
|
|
|
173
pageant
|
|
| n.壮观的游行；露天历史剧 | |
参考例句： |
|
|
|
|
174
varied
|
|
| adj.多样的，多变化的 | |
参考例句： |
|
|
|
|
175
discourse
|
|
| n.论文，演说；谈话；话语；vi.讲述，著述 | |
参考例句： |
|
|
|
|
176
majestically
|
|
| 雄伟地； 庄重地； 威严地； 崇高地 | |
参考例句： |
|
|
|
|
177
despondent
|
|
| adj.失望的，沮丧的，泄气的 | |
参考例句： |
|
|
|
|
178
reminder
|
|
| n.提醒物，纪念品；暗示，提示 | |
参考例句： |
|
|
|
|
179
falter
|
|
| vi.(嗓音)颤抖，结巴地说；犹豫；蹒跚 | |
参考例句： |
|
|
|
|
180
exhausted
|
|
| adj.极其疲惫的，精疲力尽的 | |
参考例句： |
|
|
|
|
181
mighty
|
|
| adj.强有力的；巨大的 | |
参考例句： |
|
|
|
|
182
dismal
|
|
| adj.阴沉的，凄凉的，令人忧郁的，差劲的 | |
参考例句： |
|
|
|
|
183
abode
|
|
| n.住处，住所 | |
参考例句： |
|
|
|
|
184
wafted
|
|
| v.吹送，飘送，（使）浮动( waft的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
185
choir
|
|
| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
参考例句： |
|
|
|
|
186
respite
|
|
| n.休息，中止，暂缓 | |
参考例句： |
|
|
|
|
187
afterward
|
|
| adv.后来；以后 | |
参考例句： |
|
|
|
|
188
serene
|
|
| adj. 安详的，宁静的，平静的 | |
参考例句： |
|
|
|
|
189
sublime
|
|
| adj.崇高的，伟大的；极度的，不顾后果的 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |