AMONG the various conflicting modes of writing history, there would seem to be two grand practical distinctions, under which all the rest must subordinately range. By the one mode, all contemporaneous circumstances, facts, and events must be set down contemporaneously; by the other, they are only to be set down as the general stream of the narrative1 shall dictate2; for matters which are kindred in time, may be very irrelative in themselves. I elect neither of these; I am careless of either; both are well enough in their way; I write precisely3 as I please.
In the earlier chapters of this volume, it has somewhere been passingly intimated, that Pierre was not only a reader of the poets and other fine writers, but likewise—and what is a very different thing from the other—a thorough allegorical understander of them, a profound emotional sympathizer with them; in other words, Pierre himself possessed4 the poetic5 nature; in himself absolutely, though but latently and floatingly, possessed every whit6 of the imaginative wealth which he so admired, when by vast pains-takings, and all manner of unrecompensed agonies, systematized on the printed page. Not that as yet his young and immature7 soul had been accosted8 by the Wonderful Mutes, and through the vast halls of Silent Truth, had been ushered9 into the full, secret, eternally inviolable Sanhedrim, where the Poetic Magi discuss, in glorious gibberish, the Alpha and Omega of the Universe. But among the beautiful imaginings of the second and third degree of poets, he freely and comprehendingly ranged.
But it still remains10 to be said, that Pierre himself had written many a fugitive11 thing, which had brought him, not only vast credit and compliments from his more immediate12 acquaintances, but the less partial applauses of the always intelligent, and extremely discriminating13 public. In short, Pierre had frequently done that, which many other boys have done—published. Not in the imposing14 form of a book, but in the more modest and becoming way of occasional contributions to magazines and other polite periodicals. His magnificent and victorious15 debut16 had been made in that delightful17 love-sonnet18, entitled "The Tropical Summer." Not only the public had applauded his gemmed19 little sketches20 of thought and fancy, whether in poetry or prose; but the high and mighty21 Campbell clan22 of editors of all sorts had bestowed23 upon him those generous commendations, which, with one instantaneous glance, they had immediately perceived was his due. They spoke24 in high terms of his surprising command of language; they begged to express their wonder at his euphonious25 construction of sentences; they regarded with reverence26 the pervading27 symmetry of his general style. But transcending28 even this profound insight into the deep merits of Pierre, they looked infinitely29 beyond, and confessed their complete inability to restrain their unqualified admiration31 for the highly judicious32 smoothness and genteelness of the sentiments and fancies expressed. "This writer," said one,—in an ungovernable burst of admiring fury—"is characterized throughout by Perfect Taste." Another, after endorsingly quoting that sapient33, suppressed maxim34 of Dr. Goldsmith's, which asserts that whatever is new is false, went on to apply it to the excellent productions before him; concluding with this: "He has translated the unruffled gentleman from the drawing-room into the general levee of letters; he never permits himself to astonish; is never betrayed into any thing coarse or new; as assured that whatever astonishes is vulgar, and whatever is new must be crude. Yes, it is the glory of this admirable young author, that vulgarity and vigor—two inseparable adjuncts—are equally removed from him."
A third, perorated a long and beautifully written review, by the bold and startling announcement—"This writer is unquestionably a highly respectable youth."
Nor had the editors of various moral and religious periodicals failed to render the tribute of their severer appreciation37, and more enviable, because more chary38 applause. A renowned39 clerical and philological40 conductor of a weekly publication of this kind, whose surprising proficiency41 in the Greek, Hebrew, and Chaldaic, to which he had devoted42 by far the greater part of his life, peculiarly fitted him to pronounce unerring judgment44 upon works of taste in the English, had unhesitatingly delivered himself thus:—"He is blameless in morals, and harmless throughout." Another, had unhesitatingly recommended his effusions to the family-circle. A third, had no reserve in saying, that the predominant end and aim of this author was evangelical piety45.
A mind less naturally strong than Pierre's might well have been hurried into vast self-complacency, by such eulogy46 as this, especially as there could be no possible doubt, that the primitive47 verdict pronounced by the editors was irreversible, except in the highly improbable event of the near approach of the Millennium48, which might establish a different dynasty of taste, and possibly eject the editors. It is true, that in view of the general practical vagueness of these panegyrics49, and the circumstance that, in essence, they were all somehow of the prudently50 indecisive sort; and, considering that they were panegyrics, and nothing but panegyrics, without any thing analytical51 about them; an elderly friend of a literary turn, had made bold to say to our hero—"Pierre, this is very high praise, I grant, and you are a surprisingly young author to receive it; but I do not see any criticisms as yet."
"Criticisms?" cried Pierre, in amazement52; "why, sir, they are all criticisms! I am the idol53 of the critics!"
"Ah!" sighed the elderly friend, as if suddenly reminded that that was true after all—"Ah!" and went on with his inoffensive, non-committal cigar.
Nevertheless, thanks to the editors, such at last became the popular literary enthusiasm in behalf of Pierre, that two young men, recently abandoning the ignoble54 pursuit of tailoring for the more honorable trade of the publisher (probably with an economical view of working up in books, the linen55 and cotton shreds56 of the cutter's counter, after having been subjected to the action of the paper-mill), had on the daintiest scolloped-edged paper, and in the neatest possible, and fine-needle-work hand, addressed him a letter, couched in the following terms; the general style of which letter will sufficiently57 evince that, though—thanks to the manufacturer—their linen and cotton shreds may have been very completely transmuted58 into paper, yet the cutters themselves were not yet entirely59 out of the metamorphosing mill.
"Hon. Pierre Glendinning,
"Revered Sir,
"The fine cut, the judicious fit of your productions fill us with amazement. The fabric60 is excellent—the finest broadcloth of genius. We have just started in business. Your pantaloons—productions, we mean—have never yet been collected. They should be published in the Library form. The tailors—we mean the librarians, demand it. Your fame is now in its finest nap. Now—before the gloss61 is off—now is the time for the library form. We have recently received an invoice62 of Chamois—— Russia leather. The library form should be a durable63 form. We respectfully offer to dress your amazing productions in the library form. If you please, we will transmit you a sample of the cloth—— we mean a sample-page, with a pattern of the leather. We are ready to give you one tenth of the profits (less discount) for the privilege of arraying your wonderful productions in the library form:—you cashing the seamstresses'—— printer's and binder's bills on the day of publication. An answer at your earliest convenience will greatly oblige,—
"Sir, your most obsequious64 servants,
"WONDER & WEN."
"P. S.—We respectfully submit the enclosed block—— sheet, as some earnest of our intentions to do every thing in your behalf possible to any firm in the trade.
"N. B.—If the list does not comprise all your illustrious wardrobe—— works, we mean——, we shall exceedingly regret it. We have hunted through all the drawers—— magazines.
"Sample of a coat—— title for the works of Glendinning:
THE
COMPLETE WORKS
OF
GLENDINNING,
AUTHOR OF
That world-famed production, "The Tropical Summer: a Sonnet."
an Anagram." "The Pippin: a Paragraph."
&c. &c. &c. &c.
&c. &c. &c.
&c. &c.
&c."
P
From a designer, Pierre had received the following:
"Sir: I approach you with unfeigned trepidation68. For though you are young in age, you are old in fame and ability. I can not express to you my ardent69 admiration of your works; nor can I but deeply regret that the productions of such graphic70 descriptive power, should be unaccompanied by the humbler illustrative labors71 of the designer. My services in this line are entirely at your command. I need not say how proud I should be, if this hint, on my part, however presuming, should induce you to reply in terms upon which I could found the hope of honoring myself and my profession by a few designs for the works of the illustrious Glendinning. But the cursory72 mention of your name here fills me with such swelling73 emotions, that I can say nothing more. I would only add, however, that not being at all connected with the Trade, my business situation unpleasantly forces me to make cash down on delivery of each design, the basis of all my professional arrangements. Your noble soul, however, would disdain74 to suppose, that this sordid75 necessity, in my merely business concerns, could ever impair——
"That profound private veneration77 and admiration
With which I unmercenarily am,
Great and good Glendinning,
PETER PENCE."
II.
But unfortunately it occurred to Pierre, that as all his writings were not only fugitive, but if put together could not possibly fill more than a very small duodecimo; therefore the Library Edition seemed a little premature81, perhaps; possibly, in a slight degree, preposterous82. Then, as they were chiefly made up of little sonnets83, brief meditative84 poems, and moral essays, the matter for the designer ran some small risk of being but meager85. In his inexperience, he did not know that such was the great height of invention to which the designer's art had been carried, that certain gentlemen of that profession had gone to an eminent86 publishing-house with overtures87 for an illustrated edition of "Coke upon Lyttleton." Even the City Directory was beautifully illustrated with exquisite88 engravings of bricks, tongs90, and flat-irons.
Concerning the draught91 for the title-page, it must be confessed, that on seeing the imposing enumeration92 of his titles—long and magnificent as those preceding the proclamations of some German Prince ("Hereditary Lord of the back-yard of Crantz Jacobi; Undoubted Proprietor93 by Seizure94 of the bedstead of the late Widow Van Lorn; Heir Apparent to the Bankrupt Bakery of Fletz and Flitz; Residuary Legatee of the Confiscated95 Pin-Money of the Late Dowager Dunker; &c. &c. &c.") Pierre could not entirely repress a momentary96 feeling of elation97. Yet did he also bow low under the weight of his own ponderosity98, as the author of such a vast load of literature. It occasioned him some slight misgivings99, however, when he considered, that already in his eighteenth year, his title-page should so immensely surpass in voluminous statisticals the simple page, which in his father's edition prefixed the vast speculations100 of Plato. Still, he comforted himself with the thought, that as he could not presume to interfere101 with the bill-stickers of the Gazelle Magazine, who every month covered the walls of the city with gigantic announcements of his name among the other contributors; so neither could he now—in the highly improbable event of closing with the offer of Messrs. Wonder and Wen—presume to interfere with the bill-sticking department of their business concern; for it was plain that they esteemed102 one's title-page but another unwindowed wall, infinitely more available than most walls, since here was at least one spot in the city where no rival bill-stickers dared to encroach. Nevertheless, resolved as he was to let all such bill-sticking matters take care of themselves, he was sensible of some coy inclination103 toward that modest method of certain kid-gloved and dainty authors, who scorning the vulgarity of a sounding parade, contented104 themselves with simply subscribing105 their name to the title-page; as confident, that that was sufficient guarantee to the notice of all true gentlemen of taste. It was for petty German princes to sound their prolonged titular106 flourishes. The Czar of Russia contented himself with putting the simple word "NICHOLAS" to his loftiest decrees.
This train of thought terminated at last in various considerations upon the subject of anonymousness in authorship. He regretted that he had not started his literary career under that mask. At present, it might be too late; already the whole universe knew him, and it was in vain at this late day to attempt to hood108 himself. But when he considered the essential dignity and propriety109 at all points, of the inviolably anonymous107 method, he could not but feel the sincerest sympathy for those unfortunate fellows, who, not only naturally averse110 to any sort of publicity111, but progressively ashamed of their own successive productions—written chiefly for the merest cash—were yet cruelly coerced112 into sounding title-pages by sundry113 baker's and butcher's bills, and other financial considerations; inasmuch as the placard of the title-page indubitably must assist the publisher in his sales.
But perhaps the ruling, though not altogether conscious motive114 of Pierre in finally declining—as he did—the services of Messrs. Wonder and Wen, those eager applicants115 for the privilege of extending and solidifying116 his fame, arose from the idea that being at this time not very far advanced in years, the probability was, that his future productions might at least equal, if not surpass, in some small degree, those already given to the world. He resolved to wait for his literary canonization until he should at least have outgrown117 the sophomorean insinuation of the Law; which, with a singular affectation of benignity118, pronounced him an "infant." His modesty119 obscured from him the circumstance, that the greatest lettered celebrities120 of the time, had, by the divine power of genius, become full graduates in the University of Fame, while yet as legal minors121 forced to go to their mammas for pennies wherewith to keep them in peanuts.
Not seldom Pierre's social placidity122 was ruffled35 by polite entreaties123 from the young ladies that he would be pleased to grace their Albums with some nice little song. We say that here his social placidity was ruffled; for the true charm of agreeable parlor124 society is, that there you lose your own sharp individuality and become delightfully125 merged126 in that soft social Pantheism, as it were, that rosy127 melting of all into one, ever prevailing128 in those drawing-rooms, which pacifically and deliciously belie129 their own name; inasmuch as there no one draws the sword of his own individuality, but all such ugly weapons are left—as of old—with your hat and cane130 in the hall. It was very awkward to decline the albums; but somehow it was still worse, and peculiarly distasteful for Pierre to comply. With equal justice apparently131, you might either have called this his weakness or his idiosyncrasy. He summoned all his suavity132, and refused. And the refusal of Pierre—according to Miss Angelica Amabilia of Ambleside—was sweeter than the compliance133 of others. But then—prior to the proffer134 of her album—in a copse at Ambleside, Pierre in a gallant135 whim136 had in the lady's own presence voluntarily carved Miss Angelica's initials upon the bark of a beautiful maple137. But all young ladies are not Miss Angelicas. Blandly138 denied in the parlor, they courted repulse139 in the study. In lovely envelopes they dispatched their albums to Pierre, not omitting to drop a little attar-of-rose in the palm of the domestic who carried them. While now Pierre—pushed to the wall in his gallantry—shilly-shallied as to what he must do, the awaiting albums multiplied upon him; and by-and-by monopolized140 an entire shelf in his chamber141; so that while their combined ornate bindings fairly dazzled his eyes, their excessive redolence all but made him to faint, though indeed, in moderation, he was very partial to perfumes. So that of really chilly142 afternoons, he was still obliged to drop the upper sashes a few inches.
The simplest of all things it is to write in a lady's album. But Cui Bono? Is there such a dearth143 of printed reading, that the monkish144 times must be revived, and ladies books be in manuscript? What could Pierre write of his own on Love or any thing else, that would surpass what divine Hafiz wrote so many long centuries ago? Was there not Anacreon too, and Catullus, and Ovid—all translated, and readily accessible? And then—bless all their souls!—had the dear creatures forgotten Tom Moore? But the handwriting, Pierre,—they want the sight of your hand. Well, thought Pierre, actual feeling is better than transmitted sight, any day. I will give them the actual feeling of my hand, as much as they want. And lips are still better than hands. Let them send their sweet faces to me, and I will kiss lipographs upon them forever and a day. This was a felicitous145 idea. He called Dates, and had the albums carried down by the basket-full into the dining-room. He opened and spread them all out upon the extension-table there; then, modeling himself by the Pope, when His Holiness collectively blesses long crates146 of rosaries—he waved one devout147 kiss to the albums; and summoning three servants sent the albums all home, with his best compliments, accompanied with a confectioner's kiss for each album, rolled up in the most ethereal tissue.
From various quarters of the land, both town and country, and especially during the preliminary season of autumn, Pierre received various pressing invitations to lecture before Lyceums, Young Men's Associations, and other Literary and Scientific Societies. The letters conveying these invitations possessed quite an imposing and most flattering aspect to the unsophisticated Pierre. One was as follows:—
"Urquhartian Club for the Immediate Extension of the Limits
of all Knowledge, both Human and
Divine.
"ZADOCKPRATTSVILLE,
"June 11th, 18—.
"Author of the 'Tropical Summer,' &c.
"HONORED AND DEAR SIR:—
"Official duty and private inclination in this present case most delightfully blend. What was the ardent desire of my heart, has now by the action of the Committee on Lectures become professionally obligatory148 upon me. As Chairman of our Committee on Lectures, I hereby beg the privilege of entreating149 that you will honor this Society by lecturing before it on any subject you may choose, and at any day most convenient to yourself. The subject of Human Destiny we would respectfully suggest, without however at all wishing to impede150 you in your own unbiased selection.
"If you honor us by complying with this invitation, be assured, sir, that the Committee on Lectures will take the best care of you throughout your stay, and endeavor to make Zadockprattsville agreeable to you. A carriage will be in attendance at the Stage-house to convey yourself and luggage to the Inn, under full escort of the Committee on Lectures, with the Chairman at their head.
To my high official consideration for you,
Very humbly your servant,
DONALD DUNDONALD."
III.
BUT it was more especially the Lecture invitations coming from venerable, gray-headed metropolitan153 Societies, and indited154 by venerable gray-headed Secretaries, which far from elating filled the youthful Pierre with the sincerest sense of humility155. Lecture? lecture? such a stripling as I lecture to fifty benches, with ten gray heads on each? five hundred gray heads in all! Shall my one, poor, inexperienced brain presume to lay down the law in a lecture to five hundred life-ripened understandings? It seemed too absurd for thought. Yet the five hundred, through their spokesman, had voluntarily extended this identical invitation to him. Then how could it be otherwise, than that an incipient156 Timonism should slide into Pierre, when he considered all the disgraceful inferences to be derived157 from such a fact. He called to mind, how that once upon a time, during a visit of his to the city, the police were called out to quell158 a portentous159 riot, occasioned by the vast press and contention160 for seats at the first lecture of an illustrious lad of nineteen, the author of "A Week at Coney Island."
It is needless to say that Pierre most conscientiously161 and respectfully declined all polite overtures of this sort.
Similar disenchantments of his cooler judgment did likewise deprive of their full lusciousness162 several other equally marked demonstrations163 of his literary celebrity164. Applications for autographs showered in upon him; but in sometimes humorously gratifying the more urgent requests of these singular people Pierre could not but feel a pang165 of regret, that owing to the very youthful and quite unformed character of his handwriting, his signature did not possess that inflexible166 uniformity, which—for mere76 prudential reasons, if nothing more—should always mark the hand of illustrious men. His heart thrilled with sympathetic anguish167 for posterity168, which would be certain to stand hopelessly perplexed169 before so many contradictory170 signatures of one supereminent name. Alas171! posterity would be sure to conclude that they were forgeries172 all; that no chirographic relic173 of the sublime174 poet Glendinning survived to their miserable175 times.
From the proprietors176 of the Magazines whose pages were honored by his effusions, he received very pressing epistolary solicitations for the loan of his portrait in oil, in order to take an engraving89 therefrom, for a frontispiece to their periodicals. But here again the most melancholy177 considerations obtruded178. It had always been one of the lesser179 ambitions of Pierre, to sport a flowing beard, which he deemed the most noble corporeal180 badge of the man, not to speak of the illustrious author. But as yet he was beardless; and no cunning compound of Rowland and Son could force a beard which should arrive at maturity181 in any reasonable time for the frontispiece. Besides, his boyish features and whole expression were daily changing. Would he lend his authority to this unprincipled imposture182 upon Posterity? Honor forbade.
These epistolary petitions were generally couched in an elaborately respectful style; thereby183 intimating with what deep reverence his portrait would be handled, while unavoidably subjected to the discipline indispensable to obtain from it the engraved184 copy they prayed for. But one or two of the persons who made occasional oral requisitions upon him in this matter of his engraved portrait, seemed less regardful of the inherent respect due to every man's portrait, much more, to that of a genius so celebrated185 as Pierre. They did not even seem to remember that the portrait of any man generally receives, and indeed is entitled to more reverence than the original man himself; since one may freely clap a celebrated friend on the shoulder, yet would by no means tweak his nose in his portrait. The reason whereof may be this: that the portrait is better entitled to reverence than the man; inasmuch as nothing belittling186 can be imagined concerning the portrait, whereas many unavoidably belittling things can be fancied as touching187 the man.
Upon one occasion, happening suddenly to encounter a literary acquaintance—a joint188 editor of the "Captain Kidd Monthly"—who suddenly popped upon him round a corner, Pierre was startled by a rapid—"Good-morning, good-morning;—just the man I wanted:—come, step round now with me, and have your Daguerreotype189 taken;—get it engraved then in no time;—want it for the next issue."
So saying, this chief mate of Captain Kidd seized Pierre's arm, and in the most vigorous manner was walking him off, like an officer a pickpocket190, when Pierre civilly said—"Pray, sir, hold, if you please, I shall do no such thing."—"Pooh, pooh—must have it—public property—come along—only a door or two now."—"Public property!" rejoined Pierre, "that may do very well for the 'Captain Kidd Monthly;'—it's very Captain Kiddish to say so. But I beg to repeat that I do not intend to accede191."—"Don't? Really?" cried the other, amazedly staring Pierre full in the countenance;—"why bless your soul, my portrait is published—long ago published!"—"Can't help that, sir"—said Pierre. "Oh! come along, come along," and the chief mate seized him again with the most uncompunctious familiarity by the arm. Though the sweetest-tempered youth in the world when but decently treated, Pierre had an ugly devil in him sometimes, very apt to be evoked192 by the personal profaneness193 of gentlemen of the Captain Kidd school of literature. "Look you, my good fellow," said he, submitting to his impartial194 inspection195 a determinately double fist,—"drop my arm now—or I'll drop you. To the devil with you and your Daguerreotype!"
This incident, suggestive as it was at the time, in the sequel had a surprising effect upon Pierre. For he considered with what infinite readiness now, the most faithful portrait of any one could be taken by the Daguerreotype, whereas in former times a faithful portrait was only within the power of the moneyed, or mental aristocrats196 of the earth. How natural then the inference, that instead, as in old times, immortalizing a genius, a portrait now only dayalized a dunce. Besides, when every body has his portrait published, true distinction lies in not having yours published at all. For if you are published along with Tom, Dick, and Harry197, and wear a coat of their cut, how then are you distinct from Tom, Dick, and Harry? Therefore, even so miserable a motive as downright personal vanity helped to operate in this matter with Pierre.
Some zealous198 lovers of the general literature of the age, as well as declared devotees to his own great genius, frequently petitioned him for the materials wherewith to frame his biography. They assured him, that life of all things was most insecure. He might feel many years in him yet; time might go lightly by him; but in any sudden and fatal sickness, how would his last hours be embittered199 by the thought, that he was about to depart forever, leaving the world utterly200 unprovided with the knowledge of what were the precise texture201 and hue202 of the first trowsers he wore. These representations did certainly touch him in a very tender spot, not previously203 unknown to the schoolmaster. But when Pierre considered, that owing to his extreme youth, his own recollections of the past soon merged into all manner of half-memories and a general vagueness, he could not find it in his conscience to present such materials to the impatient biographers, especially as his chief verifying authority in these matters of his past career, was now eternally departed beyond all human appeal. His excellent nurse Clarissa had been dead four years and more. In vain a young literary friend, the well-known author of two Indexes and one Epic204, to whom the subject happened to be mentioned, warmly espoused205 the cause of the distressed206 biographers; saying that however unpleasant, one must needs pay the penalty of celebrity; it was no use to stand back; and concluded by taking from the crown of his hat the proof-sheets of his own biography, which, with the most thoughtful consideration for the masses, was shortly to be published in the pamphlet form, price only a shilling.
It only the more bewildered and pained him, when still other and less delicate applicants sent him their regularly printed Biographico-Solicito Circulars, with his name written in ink; begging him to honor them and the world with a neat draft of his life, including criticisms on his own writings; the printed circular indiscriminately protesting, that undoubtedly207 he knew more of his own life than any other living man; and that only he who had put together the great works of Glendinning could be fully36 qualified30 thoroughly208 to analyze209 them, and cast the ultimate judgment upon their remarkable210 construction.
Now, it was under the influence of the humiliating emotions engendered211 by things like the above; it was when thus haunted by publishers, engravers, editors, critics, autograph-collectors, portrait-fanciers, biographers, and petitioning and remonstrating212 literary friends of all sorts; it was then, that there stole into the youthful soul of Pierre, melancholy forebodings of the utter unsatisfactoriness of all human fame; since the most ardent profferings of the most martyrizing demonstrations in his behalf,—these he was sorrowfully obliged to turn away.
And it may well be believed, that after the wonderful vital world-revelation so suddenly made to Pierre at the Meadows—a revelation which, at moments, in some certain things, fairly Timonized him—he had not failed to clutch with peculiar43 nervous detestation and contempt that ample parcel, containing the letters of his Biographico and other silly correspondents, which, in a less ferocious213 hour, he had filed away as curiosities. It was with an almost infernal grin, that he saw that particular heap of rubbish eternally quenched214 in the fire, and felt that as it was consumed before his eyes, so in his soul was forever killed the last and minutest undeveloped microscopic215 germ of that most despicable vanity to which those absurd correspondents thought to appeal.
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1
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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dictate
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| v.口授；(使)听写；指令，指示，命令 | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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whit
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| n.一点，丝毫 | |
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immature
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| adj.未成熟的，发育未全的，未充分发展的 | |
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8
accosted
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| v.走过去跟…讲话( accost的过去式和过去分词 )；跟…搭讪；（乞丐等）上前向…乞讨；（妓女等）勾搭 | |
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ushered
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| v.引，领，陪同( usher的过去式和过去分词 ) | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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fugitive
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| adj.逃亡的，易逝的；n.逃犯，逃亡者 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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discriminating
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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victorious
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debut
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| n.首次演出，初次露面 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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sonnet
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| n.十四行诗 | |
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gemmed
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| 点缀（gem的过去式与过去分词形式） | |
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sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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mighty
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clan
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| n.氏族，部落，宗族，家族，宗派 | |
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23
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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24
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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25
euphonious
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| adj.好听的，悦耳的，和谐的 | |
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26
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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27
pervading
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| v.遍及，弥漫( pervade的现在分词 ) | |
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28
transcending
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| 超出或超越（经验、信念、描写能力等）的范围( transcend的现在分词 )； 优于或胜过… | |
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29
infinitely
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| adv.无限地，无穷地 | |
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30
qualified
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| adj.合格的，有资格的，胜任的，有限制的 | |
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31
admiration
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| n.钦佩，赞美，羡慕 | |
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32
judicious
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| adj.明智的，明断的，能作出明智决定的 | |
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33
sapient
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| adj.有见识的，有智慧的 | |
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34
maxim
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| n.格言，箴言 | |
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35
ruffled
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| adj. 有褶饰边的, 起皱的 动词ruffle的过去式和过去分词 | |
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36
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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37
appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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38
chary
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| adj.谨慎的，细心的 | |
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39
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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40
philological
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| adj.语言学的，文献学的 | |
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41
proficiency
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| n.精通，熟练，精练 | |
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42
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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43
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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44
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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45
piety
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| n.虔诚，虔敬 | |
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46
eulogy
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| n.颂词；颂扬 | |
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47
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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48
millennium
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| n.一千年，千禧年；太平盛世 | |
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49
panegyrics
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| n.赞美( panegyric的名词复数 )；称颂；颂词；颂扬的演讲或文章 | |
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50
prudently
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| adv. 谨慎地，慎重地 | |
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51
analytical
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| adj.分析的；用分析法的 | |
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52
amazement
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| n.惊奇，惊讶 | |
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53
idol
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| n.偶像，红人，宠儿 | |
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54
ignoble
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| adj.不光彩的，卑鄙的；可耻的 | |
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55
linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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56
shreds
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| v.撕碎，切碎( shred的第三人称单数 )；用撕毁机撕毁（文件） | |
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57
sufficiently
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| adv.足够地，充分地 | |
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58
transmuted
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| v.使变形，使变质，把…变成…( transmute的过去式和过去分词 ) | |
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59
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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60
fabric
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| n.织物，织品，布；构造，结构，组织 | |
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61
gloss
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| n.光泽，光滑；虚饰；注释；vt.加光泽于；掩饰 | |
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62
invoice
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| vt.开发票；n.发票，装货清单 | |
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63
durable
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| adj.持久的，耐久的 | |
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64
obsequious
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| adj.谄媚的，奉承的，顺从的 | |
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65
impromptu
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| adj.即席的，即兴的；adv.即兴的(地)，无准备的(地) | |
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66
obituary
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| n.讣告，死亡公告；adj.死亡的 | |
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67
stanza
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| n.（诗）节，段 | |
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68
trepidation
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| n.惊恐，惶恐 | |
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69
ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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70
graphic
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| adj.生动的，形象的，绘画的，文字的，图表的 | |
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71
labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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72
cursory
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| adj.粗略的；草率的；匆促的 | |
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73
swelling
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| n.肿胀 | |
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74
disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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75
sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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76
mere
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| adj.纯粹的；仅仅，只不过 | |
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77
veneration
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| n.尊敬，崇拜 | |
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78
humbly
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| adv. 恭顺地，谦卑地 | |
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79
illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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80
swelled
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| 增强( swell的过去式和过去分词 )； 肿胀； （使）凸出； 充满（激情） | |
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81
premature
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| adj.比预期时间早的；不成熟的，仓促的 | |
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82
preposterous
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| adj.荒谬的，可笑的 | |
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83
sonnets
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| n.十四行诗( sonnet的名词复数 ) | |
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84
meditative
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| adj.沉思的，冥想的 | |
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85
meager
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| adj.缺乏的，不足的，瘦的 | |
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86
eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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87
overtures
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| n.主动的表示，提议；（向某人做出的）友好表示、姿态或提议( overture的名词复数 )；（歌剧、芭蕾舞、音乐剧等的）序曲，前奏曲 | |
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88
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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89
engraving
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| n.版画；雕刻（作品）；雕刻艺术；镌版术v.在（硬物）上雕刻（字，画等）( engrave的现在分词 )；将某事物深深印在（记忆或头脑中） | |
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90
tongs
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| n.钳；夹子 | |
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91
draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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92
enumeration
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| n.计数，列举；细目；详表；点查 | |
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93
proprietor
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| n.所有人；业主；经营者 | |
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94
seizure
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| n.没收；占有；抵押 | |
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95
confiscated
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| 没收，充公( confiscate的过去式和过去分词 ) | |
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96
momentary
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| adj.片刻的，瞬息的；短暂的 | |
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97
elation
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| n.兴高采烈，洋洋得意 | |
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98
ponderosity
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| n.沉重，笨重；有质性；可称性 | |
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99
misgivings
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| n.疑虑，担忧，害怕；疑虑，担心，恐惧( misgiving的名词复数 )；疑惧 | |
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100
speculations
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| n.投机买卖( speculation的名词复数 )；思考；投机活动；推断 | |
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101
interfere
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| v.(in)干涉，干预；(with)妨碍，打扰 | |
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102
esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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103
inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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104
contented
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| adj.满意的，安心的，知足的 | |
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105
subscribing
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| v.捐助( subscribe的现在分词 )；签署，题词；订阅；同意 | |
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106
titular
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| adj.名义上的，有名无实的；n.只有名义（或头衔）的人 | |
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107
anonymous
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| adj.无名的；匿名的；无特色的 | |
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108
hood
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| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
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109
propriety
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| n.正当行为；正当；适当 | |
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110
averse
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| adj.厌恶的；反对的，不乐意的 | |
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111
publicity
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| n.众所周知，闻名；宣传，广告 | |
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112
coerced
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| v.迫使做( coerce的过去式和过去分词 )；强迫；（以武力、惩罚、威胁等手段）控制；支配 | |
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113
sundry
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| adj.各式各样的，种种的 | |
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114
motive
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| n.动机，目的；adv.发动的，运动的 | |
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115
applicants
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| 申请人，求职人( applicant的名词复数 ) | |
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116
solidifying
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| （使）成为固体，（使）变硬，（使）变得坚固( solidify的现在分词 )； 使团结一致； 充实，巩固； 具体化 | |
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117
outgrown
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| 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 | |
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118
benignity
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| n.仁慈 | |
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119
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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120
celebrities
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| n.（尤指娱乐界的）名人( celebrity的名词复数 )；名流；名声；名誉 | |
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121
minors
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| n.未成年人( minor的名词复数 )；副修科目；小公司；[逻辑学]小前提v.[主美国英语]副修，选修，兼修( minor的第三人称单数 ) | |
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122
placidity
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| n.平静，安静，温和 | |
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123
entreaties
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| n.恳求，乞求( entreaty的名词复数 ) | |
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124
parlor
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| n.店铺，营业室；会客室，客厅 | |
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125
delightfully
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| 大喜，欣然 | |
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126
merged
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| （使）混合( merge的过去式和过去分词 )； 相融； 融入； 渐渐消失在某物中 | |
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127
rosy
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| adj.美好的，乐观的，玫瑰色的 | |
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128
prevailing
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| adj.盛行的；占优势的；主要的 | |
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129
belie
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| v.掩饰，证明为假 | |
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130
cane
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| n.手杖，细长的茎，藤条；v.以杖击，以藤编制的 | |
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131
apparently
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| adv.显然地；表面上，似乎 | |
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132
suavity
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| n.温和；殷勤 | |
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133
compliance
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| n.顺从；服从；附和；屈从 | |
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134
proffer
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| v.献出，赠送；n.提议，建议 | |
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135
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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136
whim
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| n.一时的兴致，突然的念头；奇想，幻想 | |
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137
maple
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| n.槭树，枫树，槭木 | |
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138
blandly
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| adv.温和地，殷勤地 | |
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139
repulse
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| n.击退，拒绝；vt.逐退，击退，拒绝 | |
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140
monopolized
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| v.垄断( monopolize的过去式和过去分词 )；独占；专卖；专营 | |
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141
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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142
chilly
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| adj.凉快的，寒冷的 | |
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143
dearth
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| n.缺乏，粮食不足，饥谨 | |
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144
monkish
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| adj.僧侣的，修道士的，禁欲的 | |
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145
felicitous
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| adj.恰当的，巧妙的；n.恰当，贴切 | |
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146
crates
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| n. 板条箱, 篓子, 旧汽车 vt. 装进纸条箱 | |
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147
devout
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| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
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148
obligatory
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| adj.强制性的，义务的，必须的 | |
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149
entreating
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| 恳求，乞求( entreat的现在分词 ) | |
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150
impede
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| v.妨碍，阻碍，阻止 | |
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151
homage
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| n.尊敬，敬意，崇敬 | |
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152
subscribe
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| vi.(to)订阅，订购；同意；vt.捐助，赞助 | |
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153
metropolitan
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| adj.大城市的，大都会的 | |
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154
indited
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| v.写（文章，信等）创作，赋诗，创作( indite的过去式和过去分词 ) | |
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155
humility
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| n.谦逊，谦恭 | |
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156
incipient
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| adj.起初的，发端的，初期的 | |
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157
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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158
quell
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| v.压制，平息，减轻 | |
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159
portentous
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| adj.不祥的，可怕的，装腔作势的 | |
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160
contention
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| n.争论，争辩，论战；论点，主张 | |
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161
conscientiously
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| adv.凭良心地；认真地，负责尽职地；老老实实 | |
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162
lusciousness
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163
demonstrations
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| 证明( demonstration的名词复数 )； 表明； 表达； 游行示威 | |
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164
celebrity
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| n.名人，名流；著名，名声，名望 | |
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165
pang
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| n.剧痛，悲痛，苦闷 | |
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166
inflexible
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| adj.不可改变的，不受影响的，不屈服的 | |
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167
anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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168
posterity
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| n.后裔，子孙，后代 | |
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169
perplexed
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| adj.不知所措的 | |
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170
contradictory
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| adj.反驳的，反对的，抗辩的；n.正反对，矛盾对立 | |
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171
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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172
forgeries
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| 伪造( forgery的名词复数 )； 伪造的文件、签名等 | |
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173
relic
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| n.神圣的遗物，遗迹，纪念物 | |
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174
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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176
proprietors
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| n.所有人，业主( proprietor的名词复数 ) | |
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177
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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178
obtruded
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| v.强行向前，强行，强迫( obtrude的过去式和过去分词 ) | |
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179
lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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180
corporeal
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| adj.肉体的，身体的；物质的 | |
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181
maturity
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| n.成熟；完成；(支票、债券等)到期 | |
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182
imposture
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| n.冒名顶替，欺骗 | |
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183
thereby
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| adv.因此，从而 | |
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184
engraved
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| 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） | |
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185
celebrated
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| adj.有名的，声誉卓著的 | |
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186
belittling
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| 使显得微小，轻视，贬低( belittle的现在分词 ) | |
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187
touching
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| adj.动人的，使人感伤的 | |
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188
joint
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| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
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189
daguerreotype
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| n.银板照相 | |
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190
pickpocket
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| n.扒手；v.扒窃 | |
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191
accede
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| v.应允，同意 | |
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192
evoked
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| [医]诱发的 | |
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193
profaneness
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| n.渎神，污秽 | |
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194
impartial
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| adj.(in,to)公正的，无偏见的 | |
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195
inspection
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| n.检查，审查，检阅 | |
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196
aristocrats
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| n.贵族( aristocrat的名词复数 ) | |
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197
harry
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| vt.掠夺，蹂躏，使苦恼 | |
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198
zealous
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| adj.狂热的，热心的 | |
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199
embittered
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| v.使怨恨，激怒( embitter的过去式和过去分词 ) | |
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200
utterly
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| adv.完全地，绝对地 | |
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201
texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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202
hue
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| n.色度；色调；样子 | |
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203
previously
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| adv.以前，先前（地） | |
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204
epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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205
espoused
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| v.（决定）支持，拥护（目标、主张等）( espouse的过去式和过去分词 ) | |
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206
distressed
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| 痛苦的 | |
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207
undoubtedly
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| adv.确实地，无疑地 | |
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208
thoroughly
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| adv.完全地，彻底地，十足地 | |
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209
analyze
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| vt.分析，解析 (=analyse) | |
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210
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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211
engendered
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| v.产生（某形势或状况），造成，引起( engender的过去式和过去分词 ) | |
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212
remonstrating
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| v.抗议( remonstrate的现在分词 )；告诫 | |
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213
ferocious
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| adj.凶猛的，残暴的，极度的，十分强烈的 | |
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214
quenched
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| 解（渴）( quench的过去式和过去分词 )； 终止（某事物）； （用水）扑灭（火焰等）； 将（热物体）放入水中急速冷却 | |
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215
microscopic
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| adj.微小的，细微的，极小的，显微的 | |
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