GABRIELE D’ANNUNZIO 1902

 The great feast-days of all, for the restless critic, are those much interspaced occasions of his really meeting a “case,” as he soon enough learns to call, for his convenience and assistance, any supremely² contributive or determinant party to the critical question. These are recognitions that make up for many dull hours and dry contacts, many a thankless, a disconcerted gaze into faces that have proved expressionless. Always looking, always hoping for his happiest chance, the inquirer into the reasons of things—by which I mean especially into the reasons of books—so often misses it, so often wastes his steps and withdraws his confidence, that he inevitably³ works out for himself, sooner or later, some handy principle of recognition. It may be a rough thing, a mere⁴ home-made tool of his trade, but it serves his purpose if it keeps him from beginning with mistakes. He becomes able to note in its light the signs and marks of the possible precious identity, able to weigh with some exactitude the appearances that make for its reality. He ends, through much expenditure⁵ of patience, by seeing when, how, why, the “case” announces and presents itself, and he perhaps even feels that failure and felicity have worked together to produce in him a sense for it that may at last be trusted as an instinct. He thus arrives at a view of all the candidates, frequently interesting enough, who fall short of the effective title, because he has at need, perhaps even from afar, scented⁷ along the wind the strongest member of the herd⁸. He may perhaps not always be able to give us the grounds of his certainty, but he is at least never without knowing it in presence of one of the full-blown products that are the joy of the analyst⁹. He recognises as well how the state of being full-blown comes above all from the achievement of consistency¹⁰, of that last consistency which springs from the unrestricted enjoyment¹¹ of freedom.

 

Many of us will doubtless not have forgotten how we were witnesses a certain number of years since to a season and a society that had found themselves of a sudden roused, as from some deep drugged sleep, to the conception of the “esthetic¹²” law of life; in consequence of which this happy thought had begun to receive the honours of a lively appetite and an eager curiosity, but was at the same time surrounded and manipulated by as many different kinds of inexpertness as probably ever huddled¹³ together on a single pretext¹⁴. The spectacle was strange and finally was wearisome, for the simple reason that the principle in question, once it was proclaimed—a principle not easily formulated¹⁵, but which we may conveniently speak of as that of beauty at any price, beauty appealing alike to the senses and to the mind—was never felt to fall into its place as really adopted and efficient. It remained for us a queer high-flavoured fruit from overseas, grown under another sun than ours, passed round and solemnly partaken of at banquets organised to try it, but not found on the whole really to agree with us, not proving thoroughly¹⁶ digestible. It brought with it no repose¹⁷, brought with it only agitation¹⁸. We were not really, not fully¹⁹ convinced, for the state of conviction is quiet. This was to have been the state itself—that is the state of mind achieved and established—in which we were to know ugliness no more, to make the esthetic consciousness feel at home with us, or learn ourselves at any rate to feel at home with it. That would have been the reign²⁰ of peace, the supreme¹ beatitude; but stability continued to elude²¹ us. We had mustered²² a hundred good reasons for it, yet the reasons but lighted up our desert. They failed to flower into a single concrete esthetic “type.” One authentic²³, one masterful specimen²⁴ would have done wonders for us, would at least have assuaged²⁵ our curiosity. But we were to be left till lately with our curiosity on our hands.

 

This is a yearning²⁷, however, that Signor D’Annunzio may at last strike us as supremely formed to gratify; so promptly²⁸ we find in him as a literary figure the highest expression of the reality that our own conditions were to fail of making possible. He has immediately the value of giving us by his mere logical unfolding the measure of our shortcomings in the same direction, that of our timidities and penuries and failures. He throws a straighter and more inevitable³⁰ light on the esthetic consciousness than has, to my sense, in our time, reached it from any other quarter; and there is many a mystery that properly interrogated³¹ he may help to clear up for us, many an explanation of our misadventure that—as I have glanced at it—he may give. He starts with the immense advantage of enjoying the invoked³³ boon³⁴ by grace and not by effort, of claiming it under another title than the sweat of his brow and the aspiration³⁵ of his culture. He testifies to the influence of things that have had time to get themselves taken for granted. Beauty at any price is an old story to him; art and form and style as the aim of the superior life are a matter of course; and it may be said of him, I think, that, thanks to these transmitted and implanted instincts and aptitudes³⁶, his individual development begins where the struggle of the mere earnest questioner ends. Signor D’Annunzio is earnest in his way, quite extraordinarily³⁷—which is a feature of his physiognomy that we shall presently come to and about which there will be something to say; but we feel him all the while in such secure possession of his heritage of favouring circumstance that his sense of intellectual responsibility is almost out of proportion. This is one of his interesting special marks, the manner in which the play of the esthetic instinct in him takes on, for positive extravagance and as a last refinement³⁸ of freedom, the crown of solicitude³⁹ and anxiety. Such things but make with him for ornament⁴⁰ and parade; they are his tribute to civility; the essence of the matter is meanwhile in his blood and his bones. No mistake was possible from the first as to his being of the inner literary camp—a new form altogether of perceptive⁴¹ and expressive⁴² energy; the question was settled by the intensity⁴³ and variety, to say nothing of the precocity⁴⁴, of his early poetic⁴⁵ production.

 

Born at Pescara, in the Regno, the old kingdom of Naples, “toward” 1863, as I find noted⁴⁶ by a cautious biographer, he had while scarce out of his teens allowed his lyric⁴⁷ genius full opportunity of scandalising even the moderately austere⁴⁸. He defined himself betimes very much as he was to remain, a rare imagination, a poetic, an artistic⁴⁹ intelligence of extraordinary range and fineness concentrated almost wholly on the life of the senses. For the critic who simplifies a little to state clearly, the only ideas he urges upon us are the erotic and the plastic, which have for him about an equal intensity, or of which it would be doubtless more correct to say that he makes them interchangeable faces of the same figure. He began his career by playing with them together in verse, to innumerable light tunes⁵⁰ and with an extraordinary general effect of curiosity and brilliancy. He has continued still more strikingly to play with them in prose; they have remained the substance of his intellectual furniture. It is of his prose only, however, that, leaving aside the Intermezzo, L’Isottèo, La Chimera⁵¹, Odi Navali and other such matters, I propose to speak, the subject being of itself ample for one occasion. His five novels and his four plays have extended his fame; they suggest by themselves as many observations as we shall have space for. The group of productions, as the literary industry proceeds among us to-day, is not large, but we may doubt if a talent and a temperament⁵², if indeed a whole “view of life,” ever built themselves up as vividly⁵³ for the reader out of so few blocks. The writer is even yet enviably young; but this solidity of his literary image, as of something already seated on time and accumulation, makes him a rare example. Precocity is somehow an inadequate⁵⁴ name for it, as precocity seldom gets away from the element of promise, and it is not exactly promise that blooms in the hard maturity⁵⁵ of such a performance as “The Triumph of Death.” There are certain expressions of experience, of the experience of the whole man, that are like final milestones⁵⁶, milestones for his possible fertility if not for his possible dexterity⁵⁷; a truth that has not indeed prevented “Il Fuoco,” with its doubtless still ampler finality, from following the work just mentioned. And we have had particularly before us, in verse, I must add, “Francesca da Rimini,” with the great impression a great actress has enabled this drama to make.

 

Only I must immediately in this connection also add that Signor D’Annunzio’s plays are, beside his novels, of decidedly minor⁵⁸ weight; testifying abundantly to his style, his romantic sense and his command of images, but standing⁵⁹ in spite of their eloquence⁶⁰ only for half of his talent, largely as he yet appears in “Il Fuoco” to announce himself by implication as an intending, indeed as a pre-eminent dramatist. The example is interesting when we catch in the fact the opportunity for comparing with the last closeness the capacity of the two rival canvases, as they become for the occasion, on which the picture of life may be painted. The closeness is never so great, the comparison never so pertinent⁶¹, as when the separate efforts are but different phases of the same talent. It is not at any rate under this juxtaposition⁶² that the infinitely⁶³ greater amplitude⁶⁴ of portrayal⁶⁵ resident in the novel strikes us least. It in fact strikes us the more, in this quarter, for Signor D’Annunzio, that his plays have been with one exception successes. We must none the less take “Francesca” but for a success of curiosity; on the part of the author I mean even more than on the part of the public. It is primarily a pictorial⁶⁶ and ingenious thing and, as a picture of passion, takes, in the total collection, despite its felicities of surface and arrangement, distinctly a “back seat.” Scarcely less than its companions it overflows⁶⁷ with the writer’s plenitude of verbal expression, thanks to which, largely, the series will always prompt a curiosity and even a tenderness in any reader interested precisely⁶⁸ in this momentous⁶⁹ question of “style in a play”—interested in particular to learn by what esthetic chemistry a play would as a work of art propose to eschew⁷⁰ it. It is in any such connection so inexpugnable that we have only to be cheated of it in one place to feel the subject cry aloud for it, like a sick man forsaken⁷¹, in another.

 

I may mention at all events the slightly perverse⁷² fact that, thanks, on this side, to the highest watermark of translation, Signor D’Annunzio makes his best appeal to the English public as a dramatist. Of each of the three English versions of other examples of his work whose titles are inscribed⁷³ at the beginning of these remarks it may be said that they are adequate and respectable considering the great difficulty encountered. The author’s highest good fortune has nevertheless been at the hands of his French interpreter, who has managed to keep constantly close to him—allowing for an occasional inconsequent failure of courage when the directness of the original brave l’honnêteté—and yet to achieve a tone not less idiomatic⁷⁴, and above all not less marked by “authority,” than his own. Mr. Arthur Symons, among ourselves, however, has rendered the somewhat insistent⁷⁶ eloquence of “La Gioconda” and the intricate and difficult verse of “Francesca” with all due sympathy, and in the latter case especially—a highly arduous⁷⁷ task—with remarkably⁷⁸ patient skill. It is not his fault, doubtless, if the feet of his English text strike us as moving with less freedom than those of his original; such being the hard price paid always by the translator who tries for correspondence from step to step, tries for an identical order. Even less is he responsible for its coming still more home to us in a translation that the meagre anecdote⁷⁹ here furnishing the subject, and on which the large superstructure rests, does not really lend itself to those developments that make a full or an interesting tragic⁸⁰ complexity⁸¹. Behind the glamour⁸² of its immense literary association the subject of “Francesca” is for purposes of essential, of enlarged exhibition delusive⁸³ and “short.”

 

These, however, are for the moment side-issues; what is more relevant is the stride taken by our author’s early progress in his first novel and his second, “Il Piacere” and “L’Innocente”; a pair from the freshness, the direct young energy of which he was, for some of his admirers, too promptly and to markedly to decline. We may take it as characteristic of the intensity of the literary life in him that his brief career falls already thus into periods and supplies a quantity of history sufficient for those differences among students by which the dignity of history appears mainly to be preserved. The nature of his prime inspiration I have already glanced at; and we are helped to a characterisation if I say that the famous enthroned “beauty” which operates here, so straight, as the great obsession⁸⁴, is not in any perceptible degree moral beauty. It would be difficult perhaps to find elsewhere in the same compass so much expression of the personal life resting so little on any picture of the personal character and the personal will. It is not that Signor D’Annunzio has not more than once pushed his furrow⁸⁵ in this latter direction; but nothing is exactly more interesting, as we shall see, than the seemingly inevitable way in which the attempt falls short.

 

“Il Piacere,” the first in date of the five tales, has, though with imperfections, the merit of giving us strongly at the outset the author’s scale and range of view, and of so constituting a sort of prophetic summary of his elements. All that is done in the later things is more or less done here, and nothing is absent here that we are not afterwards also to miss. I propose, however, that it shall not be prematurely⁸⁶ a question with us of what we miss; no intelligible⁸⁷ statement of which, for that matter, in such considerations as these, is ever possible till there has been some adequate statement of what we find. Count Andrea Sperelli is a young man who pays, pays heavily, as we take it that we are to understand, for an unbridled surrender to the life of the senses; whereby it is primarily a picture of that life that the story gives us. He is represented as inordinately⁸⁸, as quite monstrously⁹⁰, endowed for the career that from the first absorbs and that finally is to be held, we suppose, to engulf⁹² him; and it is a tribute to the truth with which his endowment is presented that we should scarce know where else to look for so complete and convincing an account of such adventures. Casanova de Seingalt is of course infinitely more copious⁹³, but his autobiography⁹⁵ is cheap loose journalism⁹⁶ compared with the directed, finely-condensed iridescent⁹⁷ epic⁹⁸ of Count Andrea.

 

This young man’s years have run but half their course from twenty to thirty when he meets and becomes entangled⁹⁹ with a woman more infernally expert even than himself in the matters in which he is most expert—and he is given us as a miracle of social and intellectual accomplishment¹⁰⁰—the effect of whom is fatally to pervert¹⁰¹ and poison his imagination. As his imagination is applied¹⁰² exclusively to the employments of “love,” this means, for him, a frustration¹⁰³ of all happiness, all comfortable consistency, in subsequent relations of the same order. The author’s view—this is fundamental—is all of a world in which relations of any other order whatever mainly fail to offer themselves in any attractive form. Andrea Sperelli, loving, accordingly—in the manner in which D’Annunzio’s young men love and to which we must specifically return—a woman of good faith, a woman as different as possible from the creature of evil communications, finds the vessel¹⁰⁴ of his spirit itself so infected and disqualified that it falsifies and dries up everything that passes through it. The idea that has virtually determined¹⁰⁶ the situation appears in fact to be that the hero would have loved in another manner, or would at least have wished to, but that he had too promptly put any such fortune, so far as his capacity is concerned, out of court. We have our reasons, presently manifest, for doubting the possibility itself; but the theory has nevertheless given its direction to the fable¹⁰⁷.

 

For the rest the author’s three sharpest signs are already unmistakable: first his rare notation¹⁰⁸ of states of excited sensibility; second his splendid visual sense, the quick generosity¹⁰⁹ of his response to the message, as we nowadays say, of aspects and appearances, to the beauty of places and things; third his ample and exquisite¹¹⁰ style, his curious, various, inquisitive¹¹¹, always active employment of language as a means of communication and representation. So close is the marriage between his power of “rendering,” in the light of the imagination, and whatever he sees and feels, that we should much mislead in speaking of his manner as a thing distinct from the matter submitted to it. The fusion¹¹² is complete and admirable, so that, though his work is nothing if not “literary,” we see at no point of it where literature or where life begins or ends: we swallow our successive morsels¹¹³ with as little question as we swallow food that has by proper preparation been reduced to singleness of savour. It is brought home to us afresh that there is no complete creation without style any more than there is complete music without sound; also that when language becomes as closely applied and impressed a thing as for the most part in the volumes before us the fact of artistic creation is registered at a stroke. It is never more present than in the thick-sown illustrative images and figures that fairly bloom under D’Annunzio’s hand. I find examples in “Il Piacere,” as elsewhere, by simply turning the pages. “His will”—of the hero’s weakness—“useless as a sword of base temper hung at the side of a drunkard or a dullard.” Or of his own southern land in September: “I scarce know why, looking at the country in this season, I always think of some beautiful woman after childbirth, who lies back in her white bed, smiling with a pale astonished inextinguishable smile.” Or the incision¹¹⁴ of this: “Where for him now were those unclean short-lived loves that left in the mouth the strange acidity¹¹⁵ of fruit cut with a steel knife?” Or the felicity of the following, of a southern night seen and felt from the terrace of a villa¹¹⁶. “Clear meteors at intervals¹¹⁷ streaked¹¹⁸ the motionless air, running over it as lightly and silently as drops of water on a crystal pane¹¹⁹.” “The sails on the sea,” he says of the same look-out by day, “were as pious⁹⁴ and numberless as the wings of cherubim on the gold grounds of old Giottesque panels.”

 

But it is above all here for two things that his faculty¹²⁰ is admirable; one of them his making us feel through the windows of his situation, or the gaps, as it were, of his flowering wood, the golden presence of Rome, the charm that appeals to him as if he were one of the pilgrims from afar, save that he reproduces it with an authority in which, as we have seen, the pilgrims from afar have mainly been deficient¹²¹. The other is the whole category of the phenomena¹²² of “passion,” as passion prevails between his men and his women—and scarcely anything else prevails; the states of feeling, of ecstasy¹²³ and suffering engendered¹²⁴, the play of sensibility from end to end of the scale. In this direction he has left no dropped stitches for any worker of like tapestries¹²⁵ to pick up. We shall here have made out that many of his “values” are much to be contested, but that where they are true they are as fresh as discoveries; witness the passage where Sperelli, driving back to Rome after a steeplechase in which he has been at the supreme moment worsted, meets nothing that does not play with significance into his vision and act with force on his nerves. He has before the race had “words,” almost blows, on the subject of one of the ladies present, with one of the other riders, of which the result is that they are to send each other their seconds; but the omens¹²⁶ are not for his adversary¹²⁷, in spite of the latter’s success on the course.

 

From the mail-coach, on the return, he overtook the flight toward Rome of Giannetto Rutolo, seated in a small two-wheeled trap, behind the quick trot¹²⁸ of a great roan, over whom he bent¹²⁹ with tight reins¹³⁰, holding his head down and his cigar in his teeth, heedless of the attempts of policemen to keep him in line. Rome, in the distance, stood up dark against a zone of light as yellow as sulphur; and the statues crowning St. John Lateran looked huge, above the zone, in their violet sky. Then it was that Andrea fully knew the pain he was making another soul suffer.

 

Nothing could be more characteristic of the writer than the way what has preceded flowers into that last reality; and equally in his best manner, doubtless, is such a passage as the following from the same volume, which treats of the hero’s first visit to the sinister¹³¹ great lady whose influence on his soul and his senses is to become as the trail of a serpent. She receives him, after their first accidental meeting, with extraordinary promptitude and the last intimacy¹³², receives him in the depths of a great Roman palace which the author, with a failure of taste that is, unfortunately for him, on ground of this sort, systematic¹³³, makes a point of naming. “Then they ceased to speak. Each felt the presence of the other flow and mingle¹³⁴ with his own, with her own, very blood; till it was her blood at last that seemed to have become his life, and his that seemed to have become hers. The room grew larger in the deep silence; the crucifix of Guido Reni made the shade of the canopy¹³⁵ and curtains religious; the rumour¹³⁶ of the city came to them like the murmur¹³⁷ of some far-away flood.” Or take for an instance of the writer’s way of showing the consciousness as a full, mixed cup, of touching¹³⁸ us ourselves with the mystery at work in his characters, the description of the young man’s leaving the princely apartments in question after the initiation¹³⁹ vouchsafed¹⁴⁰ to him. He has found the great lady ill in bed, with remedies and medicine-bottles at her side, but not too ill, as we have seen, to make him welcome. “Farewell,” she has said. “Love me! Remember!”

 

It seemed to him, crossing the threshold again, that he heard behind him a burst of sobs¹⁴¹. But he went on, a little uncertain, wavering like a man who sees imperfectly. The odour of the chloroform clung to his sense like some fume¹⁴³ of intoxication¹⁴⁴; but at each step something intimate passed away from him, wasting itself in the air, so that, impulsively¹⁴⁵, instinctively¹⁴⁶, he would have kept himself as he was, have closed himself in, have wrapped himself up to prevent the dispersion. The rooms in front of him were deserted¹⁴⁷ and dumb. At one of the doors “Mademoiselle” appeared, with no sound of steps, with no rustle¹⁴⁸ of skirts, standing there like a ghost. “This way, signor conte. You won’t find it.” She had an ambiguous, irritating smile, and her curiosity made her grey eyes more piercing. Andrea said nothing. The woman’s presence again disconcerted and troubled him, affected¹⁴⁹ him with a vague repugnance¹⁵⁰, stirred indeed his wrath¹⁵¹.

 

Even the best things suffer by detachment from their context; but so it is that we are in possession of the young man’s exit, so it is that the act interests us. Fully announced from the first, among these things, was D’Annunzio’s signal gift of never approaching the thing particularly to be done, the thing that so presents itself to the painter, without consummately¹⁵² doing it. Each of his volumes offers thus its little gallery of episodes that stand out like the larger pearls occurring at intervals on a string of beads¹⁵³. The steeplechase in “Il Piacere,” the auction¹⁵⁴ sale of precious trinkets in Via Sistina on the wet afternoon, the morning in the garden at Schifanoia, by the southern sea, when Donna Maria, the new revelation, first comes down to Andrea, who awaits her there in the languor¹⁵⁵ of convalescence¹⁵⁶ from the almost fatal wound received in the duel¹⁵⁷ of which the altercation¹⁵⁸ on the race-course has been the issue: the manner of such things as these has an extraordinary completeness of beauty. But they are, like similar pages in “Il Trionfo” and “Il Fuoco,” not things for adequate citation¹⁵⁹, not things that lend themselves as some of the briefer felicities. Donna Maria, on the September night at Schifanoia, has been playing for Andrea and their hostess certain old quaint¹⁶⁰ gavottes and toccatas.

 

It lived again wondrously¹⁶² beneath her fingers, the eighteenth-century music, so melancholy¹⁶³ in its dance-tunes—tunes that might have been composed to be danced, on languid afternoons of some St. Martin’s summer, in a deserted park, among hushed fountains and pedestals without their statues, over carpets of dead roses, by pairs of lovers soon to love no more.

 

Autobiographic in form, “L’Innocente” sticks closely to its theme, and though the form is on the whole a disadvantage to it the texture¹⁶⁴ is admirably close. The question is of nothing less than a young husband’s relation to the illegitimate child of his wife, born confessedly as such, and so born, marvellous to say, in spite of the circumstance that the wife adores him, and of the fact that, though long grossly, brutally¹⁶⁵ false to her, he also adores his wife. To state these data is sufficiently¹⁶⁶ to express the demand truly made by them for superiority of treatment; they require certainly two or three almost impossible postulates¹⁶⁷. But we of course never play the fair critical game with an author, never get into relation with him at all, unless we grant him his postulates. His subject is what is given him—given him by influences, by a process, with which we have nothing to do; since what art, what revelation, can ever really make such a mystery, such a passage in the private life of the intellect, adequately traceable for us? His treatment of it, on the other hand, is what he actively¹⁶⁹ gives; and it is with what he gives that we are critically concerned. If there is nothing in him that effectually induces us to make the postulate¹⁶⁸, he is then empty for us altogether, and the sooner we have done with him the better; little as the truly curious critic enjoys, as a general thing, having publicly to throw up the sponge.

 

Tullio Hermil, who finally compasses the death of the little “innocent,” the small intruder whose presence in the family life has become too intolerable, retraces¹⁷⁰ with a master’s hand each step of the process by which he has arrived at this sole issue. Save that his wife dumbly divines and accepts it his perpetration of the deed is not suspected, and we take the secret confession¹⁷¹ of which the book consists as made for the relief and justification¹⁷² of his conscience. The action all goes forward in that sphere of exasperated¹⁷³ sensibility which Signor D’Annunzio has made his own so triumphantly¹⁷⁴ that other story-tellers strike us in comparison as remaining at the door of the inner precinct, as listening there but to catch an occasional faint sound, while he alone is well within and moving through the place as its master. The sensibility has again in itself to be qualified¹⁰⁵; the exasperation¹⁷⁵ of feeling is ever the essence of the intercourse¹⁷⁶ of some man with some woman who has reduced him, as in “L’Innocente” and in “Il Trionfo,” to homicidal madness, or of some woman with some man who, as in “Il Fuoco,” and also again by a strange duplication of its office in “L’Innocente,” causes her atrociously to suffer. The plane of the situation is thus visibly a singularly special plane; that, always, of the more or less insanely demoralised pair of lovers, for neither of whom is any other personal relation indicated either as actual or as conceivably possible. Here, it may be said on such a showing, is material rather alarmingly cut down as to range, as to interest and, not least, as to charm; but here precisely it is that, by a wonderful chance, the author’s magic comes effectively into play.

 

Little in fact as the relation of the erotically exasperated with the erotically exasperated, when pushed on either side to frenzy¹⁷⁷, would appear to lend itself to luminous¹⁷⁸ developments, the difficulty is surmounted¹⁷⁹ each time in a fashion that, for consistency no less than for brilliancy, is all the author’s own. Though surmounted triumphantly as to interest, that is, the trick is played without the least falsification of the luckless subjects of his study. They remain the abject¹⁸⁰ victims of sensibility that his plan has originally made them; they remain exasperated, erotic, hysterical¹⁸¹, either homicidally or suicidally determined, cut off from any personal source of life that does not poison them; notwithstanding all of which they neither starve dramatically nor suffer us to starve with them. How then is this seemingly inevitable catastrophe¹⁸² prevented? We ask it but to find on reflection that the answer opens the door to their historian’s whole secret. The unfortunates are deprived of any enlarging or saving personal relation, that is of any beneficent reciprocity; but they make up for it by their relation both to the idea in general and to the whole world of the senses, which is the completest that the author can conceive for them. He may be described as thus executing on their behalf an artistic volte-face of the most effective kind, with results wonderful to note. The world of the senses, with which he surrounds them—a world too of the idea, that is of a few ideas admirably expressed—yields them such a crop of impressions that the need of other occasions to vibrate and respond, to act or to aspire¹⁸³, is superseded¹⁸⁴ by their immense factitious agitation. This agitation runs its course in strangely brief periods—a singular note, the brevity, of every situation; but the period is while it lasts, for all its human and social poverty, quite inordinately peopled and furnished. The innumerable different ways in which his concentrated couples are able to feel about each other and about their enclosing cage of golden wire, the nature and the art of Italy—these things crowd into the picture and pervade¹⁸⁵ it, lighting¹⁸⁶ it scarcely less, strange to say, because they are things of bitterness and woe¹⁸⁷.

 

It is one of the miracles of the imagination; the great shining element in which the characters flounder and suffer becomes rich and beautiful for them, as well as in so many ways for us, by the action of the writer’s mind. They not only live in his imagination, but they borrow it from him in quantities; indeed without this charitable advance they would be poor creatures enough, for they have in each case almost nothing of their own. On the aid thus received they start, they get into motion; it makes their common basis of “passion,” desire, enchantment¹⁸⁸, aversion. The essence of the situation is the same in “Il Trionfo” and “Il Fuoco” as in “L’Innocente”: the temporarily united pair devour¹⁸⁹ each other, tear and rend⁷⁵ each other, wear each other out through a series of erotic convulsions and nervous reactions that are made interesting—interesting to us—almost exclusively by the special wealth of their consciousness. The medium in which they move is admirably reflected in it; the autumn light of Venice, the afterglow of her past, in the drama of the elderly actress and the young rhetorician of “Il Fuoco”; the splendour of the summer by the edge of the lower Adriatic in that of the two isolated¹⁹⁰ erotomaniacs of “Il Trionfo,” indissolubly linked at last in the fury of physical destruction into which the man drags the woman by way of retribution for the fury of physical surrender into which she has beguiled¹⁹² him.

 

As for “L’Innocente” again, briefly¹⁹³, there is perhaps nothing in it to match the Roman passages of “Il Piacere”; but the harmony of the general, the outer conditions pervades¹⁹⁴ the picture; the sweetness of the villeggiatura life, the happiness of place and air, the lovability of the enclosing scene, all at variance¹⁹⁵ with the sharpness of the inner tragedy. The inner tragedy of “L’Innocente” has a concentration that is like the carrying, through turns and twists, upstairs and down, of some cup filled to the brim, of which no drop is yet spilled; such cumulative¹⁹⁷ truth rules the scene after we have once accepted the postulate. It is true that the situation as exhibited involves for Giuliana, the young wife, the vulgarest of adventures; yet she becomes, as it unfolds, the figure of the whole gallery in whom the pathetic has at once most of immediate²⁹ truth and of investing poetry. I much prefer her for beauty and interest to Donna Maria in “Il Piacere,” the principal other image of faith and patience sacrificed. We see these virtues¹⁹⁸ as still supreme in her even while she faces, in advance, her ordeal²⁰⁰, in respect to which it has been her hope, in fact her calculation, that her husband will have been deceived about the paternity of her child; and she is so truthfully touching when this possibility breaks down that even though we rub our eyes at the kind of dignity claimed for her we participate without reserve in her predicament. The origin of the infant is frankly²⁰¹ ignoble²⁰², whereas it is on the nobleness of Giuliana that the story essentially²⁰³ hinges; but the contradiction is wonderfully kept from disconcerting us altogether. What the author has needed for his strangest truth is that the mother shall feel exactly as the husband does, and that the husband shall after the first shock of his horror feel intimately and explicitly²⁰⁴ with the mother. They take in this way the same view of their woeful excrescence; and the drama of the child’s advent³² and of the first months of his existence, his insistent and hated survival, becomes for them in respect to the rest of the world a drama of silence and dissimulation²⁰⁵, in every step of which we feel a terror.

 

The effect, I may add, gains more than one kind of intensity from that almost complete absence of other contacts to which D’Annunzio systematically²⁰⁶ condemns²⁰⁷ his creatures; introducing here, however, just the two or three that more completely mark the isolation²⁰⁸. It may doubtless be conceded that our English-speaking failure of insistence²⁰⁹, of inquiry²¹⁰ and penetration²¹¹, in certain directions, springs partly from our deep-rooted habit of dealing²¹² with man, dramatically, on his social and gregarious²¹³ side, as a being the variety of whose intercourse with his fellows, whatever forms his fellows may take, is positively²¹⁴ half his interesting motion. We fear to isolate¹⁹¹ him, for we remember that as we see and know him he scarce understands himself save in action, action which inevitably mixes him with his kind. To see and know him, like Signor D’Annunzio, almost only in passion is another matter, for passion spends itself quickly in the open and burns hot mainly in nooks and corners. Nothing, too, in the picture is more striking than the manner in which the merely sentimental²¹⁵ abyss—that of the couple brought together by the thing that might utterly²¹⁶ have severed²¹⁷ them—is consistently and successfully avoided. We should have been certain to feel it in many other hands yawning but a few steps off. We see the dreadful facts in themselves, are brought close to them with no interposing vaguenesses or other beggings of the question, and are forcibly reminded how much more this “crudity” makes for the communication of tenderness—what is aimed at—than an attitude conventionally more reticent²¹⁸. We feel what the tenderness can be when it rests on all the items of a constituted misery²¹⁹, not one of which is illogically blinked.

 

For the pangs²²⁰ and pities of the flesh in especial D’Annunzio has in all his work the finest hand—those of the spirit exist with him indeed only as proceeding²²² from these; so that Giuliana for instance affects us, beyond any figure in fiction we are likely to remember, as living and breathing under our touch and before our eyes, as a creature of organs, functions and processes, palpable, audible, pitiful physical conditions. These are facts, many of them, of an order in pursuit of which many a spectator of the “picture of life” will instinctively desire to stop short, however great in general his professed²²³ desire to enjoy the borrowed consciousness that the picture of life gives us; and nothing, it may well be said, is more certain than that we have a right in such matters to our preference, a right to choose the kind of adventure of the imagination we like best. No obligation whatever rests on us in respect to a given kind—much light as our choice may often throw for the critic on the nature of our own intelligence. There at any rate, we are disposed to say of such a piece of penetration as “L’Innocente,” there is a particular dreadful adventure, as large as life, for those who can bear it. The conditions are all present; it is only the reader himself who may break down. When in general, it may be added, we see readers do so, this is truly more often because they are shocked at really finding the last consistency than because they are shocked at missing it.

 

“Il Trionfo della Morte” and “Il Fuoco” stand together as the amplest and richest of our author’s histories, and the earlier, and more rounded and faultless thing of the two, is not unlikely to serve, I should judge, as an unsurpassable example of his talent. His accomplishment here reaches its maximum; all his powers fight for him; the wealth of his expression drapes the situation represented in a mantle²²⁴ of voluminous folds, stiff with elaborate embroidery²²⁵. The “story” may be told in three words: how Giorgio Aurispa meets in Rome the young and extremely pretty wife of a vulgar man of business, her unhappiness with whom is complete, and, falling in love with her on the spot, eventually persuades her—after many troubled passages—to come and pass a series of weeks with him in a “hermitage” by the summer sea, where, in a delirium²²⁶ of free possession, he grows so to hate her, and to hate himself for his subjection to her, and for the prostration²²⁷ of all honour and decency²²⁸ proceeding from it, that his desire to destroy her even at the cost of perishing with her at last takes uncontrollable form and he drags her, under a pretext, to the edge of a sea-cliff and hurls²²⁹ her, interlocked with him in appalled²³⁰ resistance, into space. We get at an early stage the note of that aridity²³² of agitation in which the narrator has expended²³³ treasures of art in trying to interest us. “Fits of indescribable fury made them try which could torture each other best, which most lacerate the other’s heart and keep it in martyrdom.” But they understand, at least the hero does; and he formulates²³⁴ for his companion the essence of their impasse²³⁵. It is not her fault when she tears and rends²³⁶.

 

Each human soul carries in it for love but a determinate quantity of sensitive force. It is inevitable that this quantity should use itself up with time, as everything else does; so that when it is used up no effort has power to prevent love from ceasing. Now it’s a long time that you have been loving me; nearly two years!

 

The young man’s intelligence is of the clearest; the woman’s here is inferior, though in “Il Fuoco” the two opposed faculties²³⁷ are almost equal; but the pair are alike far from living in their intelligence, which only serves to bestrew with lurid²³⁸ gleams the black darkness of their sensual life. So far as the intelligence is one with the will our author fundamentally treats it as cut off from all communication with any other quarter—that is with the senses arrayed and encamped. The most his unfortunates arrive at is to carry their extremely embellished²³⁹ minds with them through these dusky passages as a kind of gilded²⁴⁰ glimmering²⁴¹ lantern, the effect of which is merely fantastic and ironic—a thing to make the play of their shadows over the walls of their catacomb more monstrous⁹¹ and sinister. Again in the first pages of “Il Trionfo” the glimmer²⁴² is given.

 

He recognised the injustice²⁴³ of any resentment²⁴⁴ against her, because he recognised the fatal necessities that controlled them alike. No, his misery came from no other human creature; it came from the very essence of life. The lover had not the lover to complain of, but simply love itself. Love, toward which his whole being reached out, from within, with a rush not to be checked, love was of all the sad things of this earth the most lamentably²⁴⁵ sad. And to this supreme sadness he was perhaps condemned²⁴⁶ till death.

 

That, in a nutshell, is D’Annunzio’s subject-matter; not simply that his characters see in advance what love is worth for them, but that they nevertheless need to make it the totality of their consciousness. In “Il Trionfo” and “Il Fuoco” the law just expressed is put into play at the expense of the woman, with the difference, however, that in the latter tale the woman perceives and judges, suffers in mind, so to speak, as well as in nerves and in temper. But it would be hard to say in which of these two productions the inexhaustible magic of Italy most helps the effect, most hangs over the story in such a way as to be one with it and to make the ugliness and the beauty melt together. The ugliness, it is to be noted, is continually presumed absent; the pursuit and cultivation²⁴⁷ of beauty—that fruitful preoccupation which above all, I have said, gives the author his value as our “case”—being the very ground on which the whole thing rests. The ugliness is an accident, a treachery of fate, the intrusion of a foreign substance—having for the most part in the scheme itself no admitted inevitability²⁴⁸. Against it every provision is made that the most developed taste in the world can suggest; for, ostensibly, transcendently, Signor D’Annunzio’s is the most developed taste in the world—his and that of the ferocious²⁴⁹ yet so contracted conoscenti his heroes, whose virtual identity with himself, affirmed with a strangely misplaced complacency by some of his critics, one would surely hesitate to take for granted. It is the wondrous¹⁶¹ physical and other endowments of the two heroines of “Il Piacere,” it is the joy and splendour of the hero’s intercourse with them, to say nothing of the lustre²⁵⁰ of his own person, descent, talents, possessions, and of the great general setting in which everything is offered us—it is all this that makes up the picture, with the constant suggestion that nothing of a baser quality for the esthetic sense, or at the worst for a pampered²⁵¹ curiosity, might hope so much as to live in it. The case is the same in “L’Innocente,” a scene all primarily smothered²⁵² in flowers and fruits and fragrances²⁵³ and soft Italian airs, in every implication of flattered embowered constantly-renewed desire, which happens to be a blighted²⁵⁴ felicity only for the very reason that the cultivation of delight—in the form of the wife’s luckless experiment—has so awkwardly overleaped itself. Whatever furthermore we may reflectively think either of the Ippolita of “Il Trionfo” or of her companion’s scheme of existence with her, it is enchanting²⁵⁵ grace, strange, original, irresistible²⁵⁶ in kind and degree, that she is given us as representing; just as her material situation with her young man during the greater part of the tale is a constant communion, for both of them, with the poetry and the nobleness of classic landscape, of nature consecrated²⁵⁷ by association.

 

The mixture reaches its maximum, however, in “Il Fuoco,” if not perhaps in “The Virgins²⁵⁸ of the Rocks”; the mixture I mean of every exhibited element of personal charm, distinction and interest, with every insidious²⁵⁹ local influence, every glamour of place, season and surrounding object. The heroine of the first-named is a great tragic actress, exquisite for everything but for being unfortunately middle-aged²⁶⁰, battered²⁶¹, marked, as we are constantly reminded, by all the after-sense of a career of promiscuous²⁶² carnal connections. The hero is a man of letters, a poet, a dramatist of infinite reputation and resource, and their union is steeped to the eyes in the gorgeous medium of Venice, the moods of whose melancholy and the voices of whose past are an active part of the perpetual concert. But we see all the persons introduced to us yearn²⁶ and strain to exercise their perceptions and taste their impressions as deeply as possible, conspiring²⁶³ together to interweave them with the pleasures of passion. They “go in” as the phrase is, for beauty at any cost—for each other’s own to begin with; their creator, in the inspiring quest, presses them hard, and the whole effect becomes for us that of an organised general sacrifice to it and an organised general repudiation²⁶⁴ of everything else. It is not idle to repeat that the value of the Italian background has to this end been inestimable, and that every spark of poetry it had to contribute has been struck from it—with what supreme felicity we perhaps most admiringly learn in “The Virgins of the Rocks.” To measure the assistance thus rendered, and especially the immense literary lift given, we have only to ask ourselves what appearance any one of the situations presented would have made in almost any Cisalpine or “northern” frame of circumstance whatever. Supported but by such associations of local or of literary elegance²⁶⁵ as our comparatively thin resources are able to furnish, the latent weakness in them all, the rock, as to final effect, on which they split and of which I shall presently speak, would be immeasurably less dissimulated²⁶⁶. All this is the lesson of style, by which we here catch a writer in the very act of profiting after a curious double fashion. D’Annunzio arrives at it both by expression and by material—that is, by a whole side of the latter; so that with such energy at once and such good fortune it would be odd indeed if he had not come far. It is verily in the very name and interest of beauty, of the lovely impression, that Giorgio Aurispa becomes homicidal in thought and finally in act.

 

She would in death become for me matter of thought, pure ideality. From a precarious²⁶⁷ and imperfect existence she would enter into an existence complete and definitive²⁶⁸, forsaking²⁶⁹ forever the infirmity of her weak luxurious²⁷⁰ flesh. Destroy to possess—there is no other way for him who seeks the absolute in love.

 

To these reflections he has been brought by the long, dangerous past which, as the author says, his connection with his mistress has behind it—a past of recriminations of which the ghosts still walk. “It dragged behind it, through time, an immense dark net, all full of dead things.” To quote here at all is always to desire to continue, and “Il Trionfo” abounds²⁷¹ in the illustrative episodes that are ever made so masterfully concrete. Offering in strictness, incidentally, the only exhibition in all the five volumes of a human relation other than the acutely sexual, it deals admirably enough with this opportunity when the hero pays his visit to his provincial²⁷² parents before settling with his mistress at their hermitage. His people are of ancient race and have been much at their ease; but the home in the old Apulian town, overdarkened by the misdeeds of a demoralised father, is on the verge²⁷³ of ruin, and the dull mean despair of it all, lighted by outbreaks of helpless rage on the part of the injured mother, is more than the visitor can bear, absorbed as he is in impatiences and concupiscences which make everything else cease to exist for him. His terror of the place and its troubles but exposes of course the abjection²⁷⁴ of his weakness, and the sordid²⁷⁵ squabbles, the general misery and mediocrity of life that he has to face, constitute precisely, for his personal design, the abhorred²⁷⁶ challenge of ugliness, the interference of a call other than erotic. He flees before it, leaving it to make shift as it can; but nothing could be more “rendered” in detail than his overwhelmed vision of it.

 

So with the other finest passages of the story, notably²⁷⁷ the summer day spent by the lovers in a long dusty dreadful pilgrimage to a famous local miracle-working shrine²⁷⁸, where they mingle with the multitude of the stricken, the deformed²⁷⁹, the hideous²⁸⁰, the barely human, and from which they return, disgusted and appalled, to plunge²⁸¹ deeper into consoling but too temporary transports; notably also the incident, masterly in every touch, of the little drowned contadino, the whole scene of the small starved dead child on the beach, in all the beauty of light and air and view, with the effusions and vociferations and grimnesses round him, the sights and sounds of the quasi-barbaric life that have the relief of antique rites²⁸² portrayed²⁸³ on old tombs and urns¹⁹⁶, that quality and dignity of looming²⁸⁴ larger which a great feeling on the painter’s part ever gives to small things. With this ampler truth the last page of the book is above all invested, the description of the supreme moment—for some time previous creeping nearer and nearer—at which the delirious²⁸⁵ protagonist²⁸⁶ beguiles²⁸⁷ his vaguely²⁸⁸ but not fully suspicious companion into coming out with him toward the edge of a dizzy place over the sea, where he suddenly grasps her for her doom²⁸⁹ and the sense of his awful intention, flashing a light back as into their monstrous past, makes her shriek²⁹⁰ for her life. She dodges²⁹¹ him at the first betrayal, panting and trembling.

 

“Are you crazy?” she cried with wrath in her throat. “Are you crazy?” But as she saw him make for her afresh in silence, as she felt herself seized with still harsher violence and dragged afresh toward her danger, she understood it all in a great sinister flash which blasted her soul with terror. “No, no, Giorgio! Let me go! Let me go! Another minute—listen, listen! Just a minute! I want to say——!” She supplicated²⁹², mad with terror, getting herself free and hoping to make him wait, to put him off with pity. “A minute! Listen! I love you! Forgive me! Forgive me!” She stammered²⁹³ incoherent words, desperate, feeling herself overcome, losing her ground, seeing death close. “Murder!” she then yelled in her fury. And she defended herself with her nails, with her teeth, biting like a wild beast. “Murder!” she yelled, feeling herself seized by the hair, felled to the ground on the edge of the precipice²⁹⁴, lost. The dog meanwhile barked out at the scuffle. The struggle was short and ferocious, as between implacable enemies who had been nursing to this hour in the depths of their souls an intensity of hate. And they plunged²⁹⁵ into death locked together.

 

The wonder-working shrine of the Abruzzi, to which they have previously²⁹⁶ made their way, is a local Lourdes, the resort from far and wide of the physically²⁹⁷ afflicted²⁹⁸, the evocation²⁹⁹ of whose multitudinous presence, the description of whose unimaginable miseries³⁰⁰ and ecstasies³⁰¹, grovelling³⁰² struggles and supplications, has the mark of a pictorial energy for such matters not inferior to that of émile Zola—to the degree even that the originality³⁰³ of the pages in question was, if I remember rightly, rather sharply impugned³⁰⁴ in Paris. D’Annunzio’s defence, however, was easy, residing as it does in the fact that to handle any subject successfully handled by Zola (his failures are another matter) is quite inevitably to walk more or less in his footsteps, in prints so wide and deep as to leave little margin³⁰⁵ for passing round them. To which I may add that, though the judgment³⁰⁶ may appear odd, the truth and force of the young man’s few abject days at Guardiagrele, his casa paterna, are such as to make us wish that other such corners of life were more frequent in the author’s pages. He has the supremely interesting quality in the novelist that he fixes, as it were, the tone of every cluster of objects he approaches, fixes it by the consistency and intensity of his reproduction. In “The Virgins of the Rocks” we have also a casa paterna, and a thing, as I have indicated, of exquisite and wonderful tone; but the tone here is of poetry, the truth and the force are less measurable and less familiar, and the whole question, after all, in its refined and attenuated³⁰⁷ form, is still that of sexual pursuit, which keeps it within the writer’s too frequent limits. Giorgio Aurispa, in “Il Trionfo,” lives in communion with the spirit of an amiable³⁰⁸ and melancholy uncle who had committed suicide and made him the heir of his fortune, and one of the nephew’s most frequent and faithful loyalties³⁰⁹ is to hark back, in thought, to the horror of his first knowledge of the dead man’s act, put before us always with its accompaniment of loud southern resonance³¹⁰ and confusion. He is in the place again, he is in the room, at Guardiagrele, of the original appalled vision.

 

He heard, in the stillness of the air and of his arrested soul, the small shrill³¹¹ of an insect in the wainscot. And the little fact sufficed to dissipate for the moment the extreme violence of his nervous tension, as the puncture³¹² of a needle suffices to empty a swollen³¹³ bladder. Every particular of the terrible day came back to his memory: the news abruptly³¹⁴ brought to Torretta di Sarsa, toward three in the afternoon, by a panting messenger who stammered and whimpered: the ride on horseback, at lightning speed, under the canicular sky and up the torrid slopes, and, during the rush, the sudden faintnesses that turned him dizzy in his saddle; then the house at home, filled with sobs, filled with a noise of doors slamming in the general scare, filled with the strumming of his own arteries³¹⁵; and at last his irruption into the room, the sight of the corpse³¹⁶, the curtains inflated³¹⁷ and rustling³¹⁸, the tinkle³¹⁹ on the wall of the little font for holy water.

 

This young man’s great mistake, we are told, had been his insistence on regarding love as a form of enjoyment. He would have been in a possible relation to it only if he had learned to deal with it as a form of suffering. This is the lesson brought home to the heroine of “Il Fuoco,” who suffers indeed, as it seems to us, so much more than is involved in the occasion. We ask ourselves continually why; that is we do so at first; we do so before the special force of the book takes us captive and reduces us to mere charmed absorption of its successive parts and indifference³²⁰ to its moral sense. Its defect is verily that it has no moral sense proportionate to the truth, the constant high style of the general picture; and this fact makes the whole thing appear given us simply because it has happened, because it was material that the author had become possessed³²¹ of, and not because, in its almost journalistic “actuality,” it has any large meaning. We get the impression of a direct transfer, a “lift,” bodily, of something seen and known, something not really produced by the chemical process of art, the crucible³²² or retort from which things emerge for a new function. Their meaning here at any rate, extracted with difficulty, would seem to be that there is an inevitable leak of ease and peace when a mistress happens to be considerably³²³ older than her lover; but even this interesting yet not unfamiliar³²⁴ truth loses itself in the great poetic, pathetic, psychologic ceremonial.

 

That matters little indeed, as I say, while we read; the two sensibilities concerned bloom, in all the Venetian glow, like wondrous water-plants, throwing out branches and flowers of which we admire the fantastic growth even while we remain, botanically speaking, bewildered. They are other sensibilities than those with which we ourselves have community—one of the main reasons of their appearing so I shall presently explain; and, besides, they are isolated, sequestrated, according to D’Annunzio’s constant view of such cases, for an exclusive, an intensified³²⁵ and arid²³¹ development. The mistress has, abnormally, none of the protection, the alternative life, the saving sanity³²⁶ of other interests, ties, employments; while the hero, a young poet and dramatist with an immense consciousness of genius and fame, has for the time at least only those poor contacts with existence that the last intimacies³²⁷ of his contact with his friend’s person, her poor corpo non più giovane, as he so frequently repeats, represent for him. It is not for us, however, to contest the relation; it is in the penetrating³²⁸ way again in which the relation is rendered that the writer has his triumph; the way above all in which the world-weary interesting sensitive woman, with her infinite intelligence, yet with her longing³²⁹ for some happiness still among all her experiments untasted, and her genius at the same time for familiar misery, is marked, featured, individualised for us, and, with the strangest art in the world—one of those mysteries of which great talents alone have the trick—at once ennobled with beauty and desecrated³³⁰ by a process that we somehow feel to be that of exposure, to spring from some violation³³¹ of a privilege. “?‘Do with me,’?” says the Foscarina on a certain occasion, “?‘whatever you will’; and she smiled in her offered abjection. She belonged to him like the thing one holds in one’s fist, like the ring on one’s finger, like a glove, like a garment, like a word that may be spoken or not, like a draught³³² that may be drunk or poured on the ground.” There are some lines describing an hour in which she has made him feel as never before “the incalculable capacity of the heart of man. And it seemed to him as he heard the beating of his own heart and divined the violence of the other beside him that he had in his ears the loud repercussion³³³ of the hammer on the hard anvil³³⁴ where human destiny is forged.” More than ever here the pitch of the personal drama is taken up by everything else in the scene—everything else being in fact but the immediate presence of Venice, her old faded colour and old vague harmonies, played with constantly as we might play with some rosy³³⁵ fretted³³⁶ faintly-sounding sea-shell.

 

It would take time to say what we play with in the silver-toned “Virgins of the Rocks,” the history of a visit paid by a transcendent young man—always pretty much the same young man—to an illustrious family whose fortunes have tragically³³⁷ shrunken with the expulsion of the Bourbons from the kingdom of Naples, and the three last lovely daughters of whose house are beginning to wither³³⁸ on the stem, undiscovered, unsought, in a dilapidated old palace, an old garden of neglected pomp, a place of fountains and colonnades³³⁹, marble steps and statues, all circled with hard bright sun-scorched volcanic³⁴⁰ scenery. They are tacitly candidates for the honour of the hero’s hand, and the subject of the little tale, which deals with scarce more than a few summer days, is the manner of their presenting themselves for his admiration³⁴¹ and his choice. I decidedly name this exquisite composition as my preferred of the series; for if its tone is thoroughly romantic the romance is yet of the happiest kind, the kind that consists in the imaginative development of observable things, things present, significant, related to us, and not in a weak false fumble³⁴² for the remote and the disconnected.

 

It is indeed the romantic mind itself that makes the picture, and there could be no better case of the absolute artistic vision. The mere facts are soon said; the main fact, above all, of the feeble remnant of an exhausted³⁴³ race waiting in impotence to see itself cease to be. The father has nothing personal left but the ruins of his fine presence and of his old superstitions³⁴⁴, a handful of silver dust; the mother, mad and under supervision³⁴⁵, stalks about with the delusion³⁴⁶ of imperial greatness (there is a wonderful page on her parading through the gardens in her rococo³⁴⁷ palanquin, like a Byzantine empress, attended by sordid keepers, while the others are hushed into pity and awe); the two sons, hereditarily³⁴⁸ tainted³⁴⁹, are virtually imbecile; the three daughters, candidly³⁵⁰ considered, are what we should regard in our Anglo-Saxon world as but the stuff of rather particularly dreary³⁵¹ and shabby, quite unutterably idle old maids. Nothing, within the picture, occurs; nothing is done or, more acutely than usual, than everywhere, suffered; it is all a mere affair of the rich impression, the complexity of images projected upon the quintessential spirit of the hero, whose own report is what we have—an affair of the quality of observation, sentiment and eloquence brought to bear. It is not too much to say even that the whole thing is in the largest sense but a theme for style, style of substance as well as of form. Within this compass it blooms and quivers and shimmers³⁵² with light, becomes a wonderful little walled garden of romance. The young man has a passage of extreme but respectful tenderness with each of the sisters in turn, and the general cumulative effect is scarcely impaired³⁵³ by the fact that “nothing comes” of any of these relations. Too little comes of anything, I think, for any very marked human analogy, inasmuch as if it is interesting to be puzzled to a certain extent by what an action, placed before us, is designed to show or to signify, so we require for this refined amusement at least the sense that some general idea is represented. We must feel it present.

 

Therefore if making out nothing very distinct in “Le Vergini” but the pictorial idea, and yet cleaving³⁵⁴ to the preference I have expressed, I let the anomaly pass as a tribute extorted³⁵⁵ by literary art, I may seem to imply that a book may have a great interest without showing a perfect sense. The truth is undoubtedly³⁵⁶ that I am in some degree beguiled and bribed³⁵⁷ by the particularly intense expression given in these pages to the author’s esthetic faith. If he is so supremely a “case” it is because this production has so much to say for it, and says it with such a pride of confidence, with an assurance and an elegance that fairly make it the last conceivable word of such a profession. The observations recorded have their origin in the narrator’s passionate³⁵⁸ reaction against the vulgarity of the day. All the writer’s young men react; but Cantelmo, in the volume before us, reacts with the finest contempt. He is, like his brothers, a raffiné conservative, believing really, so far as we understand it, only in the virtue¹⁹⁹ of “race” and in the grand manner. The blighted Virgins, with all that surrounds them, are an affirmation of the grand manner—that is of the shame and scandal of what in an odious³⁵⁹ age it has been reduced to. It consists indeed of a number of different things which I may not pretend to have completely fitted together, but which are, with other elements, the sense of the supremacy³⁶⁰ of beauty, the supremacy of style and, last not least, of the personal will, manifested for the most part as a cold insolence³⁶¹ of attitude—not manifested as anything much more edifying³⁶². What it really appears to come to is that the will is a sort of romantic ornament, the application of which, for life in the present and the future, remains³⁶³ awkwardly vague, though we are always to remember that it has been splendidly forged in the past. The will in short is beauty, is style, is elegance, is art—especially in members of great families and possessors of large fortunes. That of the hero of “Le Vergini” has been handed down to him direct, as by a series of testamentary provisions, from a splendid young ancestor for whose memory and whose portrait he has a worship, a warrior³⁶⁴ and virtuoso³⁶⁵ of the Renaissance³⁶⁶, the model of his spirit.

 

He represents for me the mysterious meaning of the power of style, not violable by any one, and least of all ever by myself in my own person.

 

And elsewhere:—

 

The sublime³⁶⁷ hands of Violante [the beauty and interest of hands play a great part, in general, in the picture], pressing out in drops the essence of the tender flowers and letting them fall bruised³⁶⁸ to the ground, performed an act which, as a symbol, corresponded perfectly¹⁴² to the character of my style; this being ever to extract from a thing its very last scent⁶ of life, to take from it all it could give and leave it exhausted. Was not this one of the most important offices of my art of life?

 

The book is a singularly rich exhibition of an inward state, the state of private poetic intercourse with things, the kind of current that in a given personal experience flows to and fro between the imagination and the world. It represents the esthetic consciousness, proud of its conquests and discoveries, and yet trying, after all, as with the vexed³⁶⁹ sense of a want, to look through other windows and eyes. It goes all lengths, as is of course indispensable on behalf of a personage constituting a case. “I firmly believe that the greatest sum of future dominion³⁷⁰ will be precisely that which shall have its base and its apex³⁷¹ in Rome”—such being in our personage the confidence of the “Latin” spirit. Does it not really all come back to style? It was to the Latin spirit that the Renaissance was primarily vouchsafed; and was not, for a simplified statement, the last word of the Renaissance the question of taste? That is the esthetic question; and when the Latin spirit after many misadventures again clears itself we shall see how all the while this treasure has been in its keeping. Let us as frankly as possible add that there is a whole side on which the clearance³⁷² may appear to have made quite a splendid advance with Signor D’Annunzio himself.

 

But there is another side, which I have been too long in coming to, yet which I confess is for me much the more interesting. No account of our author is complete unless we really make out what becomes of that esthetic consistency in him which, as I have said, our own collective and cultivated effort is so earnestly attempting and yet so pathetically, if not so grotesquely³⁷³, missing. We are struck, unmistakably, early in our acquaintance with these productions, by the fact that their total beauty somehow extraordinarily fails to march with their beauty of parts, and that something is all the while at work undermining that bulwark³⁷⁴ against ugliness which it is their obvious theory of their own office to throw up. The disparity troubles and haunts us just in proportion as we admire; and our uneasy wonderment over the source of the weakness fails to spoil our pleasure only because such questions have so lively an interest for the critic. We feel ourselves somehow in presence of a singular incessant³⁷⁵ leak in the effect of distinction so artfully and copiously³⁷⁶ produced, and we apply our test up and down in the manner of the inquiring person who, with a tin implement³⁷⁷ and a small flame, searches our premises³⁷⁸ for an escape of gas. The bad smell has, as it were, to be accounted for; and yet where, amid the roses and lilies and pomegranates, the thousand essences and fragrances, can such a thing possibly be? Quite abruptly, I think, at last (if we have been much under the spell) our test gives us the news, not unaccompanied with the shock with which we see our escape of gas spring into flame. There is no mistaking it; the leak of distinction is produced by a positive element of the vulgar; and that the vulgar should flourish in an air so charged, intellectually speaking, with the “aristocratic” element, becomes for us straightway the greatest of oddities and at the same time, critically speaking, one of the most interesting things conceivable.

 

The interest then springs from its being involved for us in the “case.” We recognise so many suggested consequences if the case is really to prove responsible for it. We ask ourselves if there be not a connection, we almost tremble lest there shouldn’t be; since what is more obvious than that, if a high example of exclusive estheticism—as high a one as we are likely ever to meet—is bound sooner or later to spring a leak, the general question receives much light? We recognise here the value of our author’s complete consistency: he would have kept his bottom sound, so to speak, had he not remained so long at sea. If those imperfect exponents³⁷⁹ of his faith whom we have noted among ourselves fail to flower, for a climax³⁸⁰, in any proportionate way, we make out that they are embarrassed not so much by any force they possess as by a force—a force of temperament—that they lack. The anomaly I speak of presents itself thus as the dilemma³⁸¹ in which Signor D’Annunzio’s consistency has inexorably landed him; and the disfigurement breaks out, strikingly enough, in the very forefront of his picture, at the point where he has most lavished³⁸² his colour. It is where he has most trusted and depended that he is most betrayed, the traitor³⁸³ sharing certainly his tent and his confidence. What is it that in the interest of beauty he most elaborately builds on if not on the love-affairs of his heroes and heroines, if not on his exhibition of the free play, the sincere play, the play closely studied and frankly represented, of the sexual relation? It is round this exercise, for him, that expressible, demonstrable, communicable beauty prevailingly clusters; a view indeed as to which we all generously go with him, subject to the reserve for each of us of our own expression and demonstration³⁸⁴. It is these things on his part that break down, it is his discrimination that falls short, and thereby³⁸⁵ the very kind of intellectual authority most implied by his pretension³⁸⁶. There is according to him an immense amenity³⁸⁷ that can be saved—saved by style—from the general wreck³⁸⁸ and welter of what is most precious, from the bankruptcy³⁸⁹ determined more and more by our basely democratic conditions. As we watch the actual process, however, it is only to see the lifeboat itself founder³⁹⁰. The vulgarity into which he so incongruously drops is, I will not say the space he allots³⁹¹ to love-affairs, but the weakness of his sense of “values” in depicting³⁹² them.

 

We begin to ask ourselves at an early stage what this queer passion may be in the representation of which the sense of beauty ostensibly finds its richest expression and which is yet attended by nothing else at all—neither duration, nor propagation, nor common kindness, nor common consistency with other relations, common congruity³⁹³ with the rest of life—to make its importance good. If beauty is the supreme need so let it be; nothing is more certain than that we can never get too much of it if only we get it of the right sort. It is therefore on this very ground—the ground of its own sufficiency—that Signor D’Annunzio’s invocation of it collapses³⁹⁵ at our challenge. The vulgarity comes from the disorder³⁹⁶ really introduced into values, as I have called them; from the vitiation suffered—that we should have to record so mean an accident—by taste, impeccable taste, itself. The truth of this would come out fully in copious examples, now impossible; but it is not too much to say, I think, that in every principal situation presented the fundamental weakness causes the particular interest to be inordinately compromised.

 

I must not, I know, make too much of “Il Piacere”—one of those works of promising³⁹⁷ youth with which criticism is always easy—and I should indeed say nothing of it if it were also a work of less ability. It really, however, to my mind, quite gives us the key, all in the morning early, to our author’s general misadventure. Andrea Sperelli is the key; Donna Maria is another key of a slightly different shape. They have neither of them the esthetic importance, any more than the moral, that their narrator claims for them and in his elaborate insistence on which he has so hopelessly lost his way. If they were important—by which I mean if they showed in any other light than that of their particular erotic exercise—they would justify³⁹⁸ the claim made for them with such superior art. They have no general history, since their history is only, and immediately and extravagantly³⁹⁹, that of their too cheap and too easy romance. Why should the career of the young man be offered as a sample of pathetic, of tragic, of edifying corruption⁴⁰¹?—in which case it might indeed be matter for earnest exhibition. The march of corruption, the insidious influence of propinquity, opportunity, example, the ravage⁴⁰² of false estimates and the drama of sterilising passion—all this is a thinkable theme, thinkable especially in the light of a great talent. But for Andrea Sperelli there is not only no march, no drama, there is not even a weakness to give him the semblance⁴⁰³ of dramatic, of plastic material; he is solidly, invariably, vulgarly strong, and not a bit more corrupt⁴⁰⁰ at the end of his disorders⁴⁰⁴ than at the beginning. His erudition, his intellectual accomplishments⁴⁰⁵ and elevation⁴⁰⁶, are too easily spoken for; no view of him is given in which we can feel or taste them. Donna Maria is scarcely less signal an instance of the apparent desire on the author’s part to impute⁴⁰⁷ a “value” defeated by his apparently⁴⁰⁸ not knowing what a value is. She is apparently an immense value for the occasions on which the couple secretly meet, but how is she otherwise one? and what becomes therefore of the beauty, the interest, the pathos⁴⁰⁹, the struggle, or whatever else, of her relation—relation of character, of judgment, even of mere taste—to her own collapse³⁹⁴? The immediate physical sensibility that surrenders in her is, as throughout, exquisitely⁴¹⁰ painted; but since nothing operates for her, one way or the other, but that familiar faculty, we are left casting about us almost as much for what else she has to give as for what, in any case, she may wish to keep.

 

The author’s view of the whole matter of durations and dates, in these connections, gives the scale of “distinction” by itself a marked downward tilt⁴¹¹; it confounds all differences between the trivial and the grave. Giuliana, in “L’Innocente,” is interesting because she has had a misadventure, and she is exquisite in her delineator’s view because she has repented⁴¹² of it. But the misadventure, it appears, was a matter but of a minute; so that we oddly see this particular romance attenuated on the ground of its brevity. Given the claims of the exquisite, the attenuation⁴¹³ should surely be sought in the very opposite quarter; since, where these remarkable⁴¹⁴ affections are concerned, how otherwise than by the element of comparative duration do we obtain the element of comparative good faith, on which we depend for the element, in turn, of comparative dignity? Andrea Sperelli becomes in the course of a few weeks in Rome the lover of some twenty or thirty women of fashion—the number scarce matters; but to make this possible his connection with each has but to last a day or two; and the effect of that in its order is to reduce to nothing, by vulgarity, by frank grotesqueness⁴¹⁵ of association, the romantic capacity in him on which his chronicler’s whole appeal to us is based. The association rising before us more nearly than any other is that of the manners observable in the most mimetic department of any great menagerie.

 

The most serious relation depicted⁴¹⁶—in the sense of being in some degree the least suggestive of mere zoological sociability—is that of the lovers in “Il Fuoco,” as we also take this pair for their creator’s sanest⁴¹⁷ and most responsible spirits. It is a question between them of an heroic affection, and yet the affection appears to make good for itself no place worth speaking of in their lives. It holds but for a scant⁴¹⁸ few weeks; the autumn already reigns⁴¹⁹ when the connection begins, and the connection is played out (or if it be not the ado is about nothing) with the first flush of the early Italian spring. It suddenly, on our hands, becomes trivial, with all our own estimate of reasons and realities and congruities⁴²⁰ falsified. The Foscarina has, on professional business, to “go away,” and the young poet has to do the same; but such a separation, so easily bridged over by such great people, makes a beggarly climax for an intercourse on behalf of which all the forces of poetry and tragedy have been set in motion. Where then we ask ourselves is the weakness?—as we ask it, very much in the same way, in respect to the vulgarised aspect of the tragedy of Giorgio Aurispa. The pang²²¹ of pity, the pang that springs from a conceivable community in doom, is in this latter case altogether wanting. Directly we lift a little the embroidered⁴²¹ mantle of that gift for appearances which plays, on Signor D’Annunzio’s part, such tricks upon us, we find ourselves put off, as the phrase is, with an inferior article. The inferior article is the hero’s poverty of life, which cuts him down for pathetic interest just as the same limitation in “Il Piacere” cuts down Donna Maria. Presented each as victims of another rapacious⁴²² person who has got the better of them, there is no process, no complexity, no suspense⁴²³ in their story; and thereby, we submit, there is no esthetic beauty. Why shouldn’t Giorgio Aurispa go mad? Why shouldn’t Stelio Effrena go away? We make the inquiry as disconcerted spectators, not feeling in the former case that we have had any communication with the wretched youth’s sanity, and not seeing in the latter why the tie of all the passion that has been made so admirably vivid for us should not be able to weather change.

 

Nothing is so singular with D’Annunzio as that the very basis and subject of his work should repeatedly go aground on such shallows as these. He takes for treatment a situation that is substantially none—the most fundamental this of his values, and all the more compromising that his immense art of producing illusions still leaves it exposed. The idea in each case is superficially specious⁴²⁴, but where it breaks down is what makes all the difference. “Il Piacere” would have meant what it seems to try to mean only if a provision had been made in it for some adequate “inwardness” on the part either of the nature disintegrated⁴²⁵ or of the other nature to which this poisoned contact proves fatal. “L’Innocente,” of the group, comes nearest to justifying⁴²⁶ its idea; and I leave it unchallenged, though its meaning surely would have been written larger if the attitude of the wife toward her misbegotten child had been, in face of the husband’s, a little less that of the dumb detached animal suffering in her simplicity⁴²⁷. As a picture of such suffering, the pain of the mere dumb animal, the work is indeed magnificent; only its connections are poor with the higher dramatic, the higher poetic, complexity of things.

 

I can only repeat that to make “The Triumph of Death” a fruitful thing we should have been able to measure the triumph by its frustration of some conceivable opportunity at least for life. There is a moment at which we hope for something of this kind, the moment at which the young man pays his visit to his family, who have grievous need of him and toward whom we look to see some one side or other of his fine sensibility turn. But nothing comes of that for the simple reason that the personage is already dead—that nothing exists in him but the established fear of life. He turns his back on everything but a special sensation, and so completely shuts the door on the elements of contrast and curiosity. Death really triumphs, in the matter, but over the physical terror of the inordinate⁸⁹ woman; a pang perfectly communicated to us, but too small a surface to bear the weight laid on it, which accordingly affects us as that of a pyramid turned over on its point. It is throughout one of D’Annunzio’s strongest marks that he treats “love” as a matter not to be mixed with life, in the larger sense of the word, at all—as a matter all of whose other connections are dropped; a sort of secret game that can go on only if each of the parties has nothing to do, even on any other terms, with any one else.

 

I have dwelt on the fact that the sentimental intention in “Il Fuoco” quite bewilderingly fails, in spite of the splendid accumulation of material. We wait to the end to see it declare itself, and then are left, as I have already indicated, with a mere meaningless anecdote on our hands. Brilliant and free, each freighted with a talent that is given us as incomparable, the parties to the combination depicted have, for their affection, the whole world before them—and not the simple terraqueous globe, but that still vaster sphere of the imagination in which, by an exceptionally happy chance, they are able to move together on very nearly equal terms. A tragedy is a tragedy, a comedy is a comedy, when the effect, in either sense, is determined for us, determined by the interference of some element that starts a complication or precipitates⁴²⁸ an action. As in “Il Fuoco” nothing whatever interferes—or nothing certainly that need weigh with the high spirits represented—we ask why such precious revelations are made us for nothing. Admirably made in themselves they yet strike us as, esthetically speaking, almost cruelly wasted.

 

This general remark would hold good, as well, of “Le Vergini,” if I might still linger, though its application has already been virtually made. Anatolia, in this tale, the most robust⁴²⁹ of the three sisters, declines marriage in order to devote herself to a family who have, it would certainly appear, signal need of her nursing. But this, though it sufficiently represents her situation, covers as little as possible the ground of the hero’s own, since he, quivering intensely with the treasure of his “will,” inherited in a straight line from the cinque-cento, only asks to affirm his sublimated⁴³⁰ energy. The temptation to affirm it erotically, at least, has been great for him in relation to each of the young women in turn; but it is for Anatolia that his admiration and affection most increase in volume, and it is accordingly for her sake that, with the wonderful moral force behind him (kept as in a Florentine casket,) we most look to see him justified⁴³¹. He has a fine image—and when has the author not fine images?—to illustrate⁴³² the constant readiness of this possession. The young woman says something that inspires him, whereupon, “as a sudden light playing over the dusky wall of a room causes the motionless sword in a trophy⁴³³ to shine, so her word drew a great flash from my suspended volontà. There was a virtue in her,” the narrator adds, “which could have produced portentous⁴³⁴ fruit. Her substance might have nourished a superhuman germ.” In spite of which it never succeeds in becoming so much as a question that his affection for her shall act, that this grand imagination in him shall operate, that he himself is, in virtue of such things, exactly the person to come to her aid and to combine with her in devotion. The talk about the volontà is amusing much in the same way as the complacency of a primitive⁴³⁵ man, unacquainted with the uses of things, who becomes possessed by some accident of one of the toys of civilisation⁴³⁶, a watch or a motor-car. And yet artistically⁴³⁷ and for our author the will has an application, since without it he could have done no rare vivid work.

 

Here at all events we put our finger, I think, on the very point at which his esthetic plenitude meets the misadventure that discredits⁴³⁸ it. We see just where it “joins on” with vulgarity. That sexual passion from which he extracts such admirable detached pictures insists on remaining for him only the act of a moment, beginning and ending in itself and disowning any representative character. From the moment it depends on itself alone for its beauty it endangers extremely its distinction, so precarious at the best. For what it represents, precisely, is it poetically⁴³⁹ interesting; it finds its extension and consummation only in the rest of life. Shut out from the rest of life, shut out from all fruition and assimilation, it has no more dignity than—to use a homely⁴⁴⁰ image—the boots and shoes that we see, in the corridors of promiscuous hotels, standing, often in double pairs, at the doors of rooms. Detached and unassociated these clusters of objects present, however obtruded⁴⁴¹, no importance. What the participants do with their agitation, in short, or even what it does with them, that is the stuff of poetry, and it is never really interesting save when something finely contributive in themselves makes it so. It is this absence of anything finely contributive in themselves, on the part of the various couples here concerned, that is the open door to the trivial. I have said, with all appreciation⁴⁴², that they present the great “relation,” for intimacy, as we shall nowhere else find it presented; but to see it related, in its own turn, to nothing in the heaven above or the earth beneath, this undermines, we definitely learn, the charm of that achievement.

 

And so it is, strangely, that our esthetic “case” enlightens us. The only question is whether it be the only case of the kind conceivable. May we not suppose another with the elements differently mixed? May we not in imagination alter the proportions within or the influences without, and look with cheerfulness for a different issue? Need the esthetic adventure, in a word, organised for real discovery, give us no more comforting news of success? Are there not, so to speak, finer possible combinations? are there not safeguards against futility⁴⁴³ that in the example before us were but too presumably absent? To which the sole answer probably is that no man can say. It is Signor D’Annunzio alone who has really sailed the sea and brought back the booty. The actual case is so good that all the potential fade beside it. It has for it that it exists, and that, whether for the strength of the original outfit⁴⁴⁴ or for the weight of the final testimony⁴⁴⁵, it could scarce thinkably be bettered.

1 supreme   

adj.极度的，最重要的；至高的，最高的

参考例句：

• It was the supreme moment in his life.那是他一生中最重要的时刻。
• He handed up the indictment to the supreme court.他把起诉书送交最高法院。

2 supremely   

adv.无上地，崇高地

参考例句：

• They managed it all supremely well. 这件事他们干得极其出色。
• I consider a supremely beautiful gesture. 我觉得这是非常优雅的姿态。

3 inevitably   

adv.不可避免地；必然发生地

参考例句：

• In the way you go on,you are inevitably coming apart.照你们这样下去，毫无疑问是会散伙的。
• Technological changes will inevitably lead to unemployment.技术变革必然会导致失业。

4 mere   

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。

5 expenditure   

n.(时间、劳力、金钱等)支出；使用，消耗

参考例句：

• The entry of all expenditure is necessary.有必要把一切开支入账。
• The monthly expenditure of our family is four hundred dollars altogether.我们一家的开销每月共计四百元。

6 scent   

n.气味，香味，香水，线索，嗅觉；v.嗅，发觉

参考例句：

• The air was filled with the scent of lilac.空气中弥漫着丁香花的芬芳。
• The flowers give off a heady scent at night.这些花晚上散发出醉人的芳香。

7 scented   

adj.有香味的；洒香水的；有气味的v.嗅到(scent的过去分词)

参考例句：

• I let my lungs fill with the scented air. 我呼吸着芬芳的空气。 来自《简明英汉词典》
• The police dog scented about till he found the trail. 警犬嗅来嗅去，终于找到了踪迹。 来自《现代汉英综合大词典》

8 herd   

n.兽群，牧群；vt.使集中，把…赶在一起

参考例句：

• She drove the herd of cattle through the wilderness.她赶着牛群穿过荒野。
• He had no opinions of his own but simply follow the herd.他从无主见，只是人云亦云。

9 analyst   

n.分析家，化验员；心理分析学家

参考例句：

• What can you contribute to the position of a market analyst?你有什么技能可有助于市场分析员的职务？
• The analyst is required to interpolate values between standards.分析人员需要在这些标准中插入一些值。

10 consistency   

n.一贯性，前后一致，稳定性；(液体的)浓度

参考例句：

• Your behaviour lacks consistency.你的行为缺乏一贯性。
• We appreciate the consistency and stability in China and in Chinese politics.我们赞赏中国及其政策的连续性和稳定性。

11 enjoyment   

n.乐趣；享有；享用

参考例句：

• Your company adds to the enjoyment of our visit. 有您的陪同，我们这次访问更加愉快了。
• After each joke the old man cackled his enjoyment.每逢讲完一个笑话，这老人就呵呵笑着表示他的高兴。

12 esthetic   

adj.美学的，审美的；悦目的，雅致的

参考例句：

• That armchair is comfortable but not very esthetic.那张扶手椅坐起来舒服，但不太美观。
• There are physical distance and esthetic distance between the esthetic subject and the object.审美的主客体之间有物理距离和心理距离。

13 huddled   

挤在一起（huddle的过去式与过去分词形式）

参考例句：

• We huddled together for warmth. 我们挤在一块取暖。
• We huddled together to keep warm. 我们挤在一起来保暖。

14 pretext   

n.借口，托词

参考例句：

• He used his headache as a pretext for not going to school.他借口头疼而不去上学。
• He didn't attend that meeting under the pretext of sickness.他以生病为借口，没参加那个会议。

15 formulated   

v.构想出( formulate的过去式和过去分词 )；规划；确切地阐述；用公式表示

参考例句：

• He claims that the writer never consciously formulated his own theoretical position. 他声称该作家从未有意识地阐明他自己的理论见解。 来自《简明英汉词典》
• This idea can be formulated in two different ways. 这个意思可以有两种说法。 来自《现代汉英综合大词典》

16 thoroughly   

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。

17 repose   

v.(使)休息；n.安息

参考例句：

• Don't disturb her repose.不要打扰她休息。
• Her mouth seemed always to be smiling,even in repose.她的嘴角似乎总是挂着微笑，即使在睡眠时也是这样。

18 agitation   

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。

19 fully   

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。

20 reign   

n.统治时期，统治，支配，盛行；v.占优势

参考例句：

• The reign of Queen Elizabeth lapped over into the seventeenth century.伊丽莎白王朝延至17世纪。
• The reign of Zhu Yuanzhang lasted about 31 years.朱元璋统治了大约三十一年。

21 elude   

v.躲避，困惑

参考例句：

• If you chase it,it will elude you.如果你追逐着它， 它会躲避你。
• I had dared and baffled his fury.I must elude his sorrow.我曾经面对过他的愤怒，并且把它挫败了；现在我必须躲避他的悲哀。

22 mustered   

v.集合，召集，集结（尤指部队）( muster的过去式和过去分词 )；（自他人处）搜集某事物；聚集；激发

参考例句：

• We mustered what support we could for the plan. 我们极尽所能为这项计划寻求支持。
• The troops mustered on the square. 部队已在广场上集合。 来自《简明英汉词典》

23 authentic   

a.真的，真正的；可靠的，可信的，有根据的

参考例句：

• This is an authentic news report. We can depend on it. 这是篇可靠的新闻报道, 我们相信它。
• Autumn is also the authentic season of renewal. 秋天才是真正的除旧布新的季节。

24 specimen   

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。

25 assuaged   

v.减轻( assuage的过去式和过去分词 )；缓和；平息；使安静

参考例句：

• Although my trepidation was not completely assuaged, I was excited. 虽然我的种种担心并没有完全缓和，我还是很激动。 来自互联网
• Rejection (which cannot be assuaged) is another powerful motivator of bullying. （不能缓和的）拒绝是另一个欺负行为的有力动因。 来自互联网

26 yearn   

v.想念；怀念；渴望

参考例句：

• We yearn to surrender our entire being.我们渴望着放纵我们整个的生命。
• Many people living in big cities yearn for an idyllic country life.现在的很多都市人向往那种田园化的生活。

27 yearning   

a.渴望的；向往的；怀念的

参考例句：

• a yearning for a quiet life 对宁静生活的向往
• He felt a great yearning after his old job. 他对过去的工作有一种强烈的渴想。

28 promptly   

adv.及时地，敏捷地

参考例句：

• He paid the money back promptly.他立即还了钱。
• She promptly seized the opportunity his absence gave her.她立即抓住了因他不在场给她创造的机会。

29 immediate   

adj.立即的；直接的，最接近的；紧靠的

参考例句：

• His immediate neighbours felt it their duty to call.他的近邻认为他们有责任去拜访。
• We declared ourselves for the immediate convocation of the meeting.我们主张立即召开这个会议。

30 inevitable   

adj.不可避免的，必然发生的

参考例句：

• Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。
• The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

31 interrogated   

v.询问( interrogate的过去式和过去分词 )；审问；（在计算机或其他机器上）查询

参考例句：

• He was interrogated by the police for over 12 hours. 他被警察审问了12个多小时。
• Two suspects are now being interrogated in connection with the killing. 与杀人案有关的两名嫌疑犯正在接受审讯。 来自《简明英汉词典》

32 advent   

n.(重要事件等的)到来，来临

参考例句：

• Swallows come by groups at the advent of spring. 春天来临时燕子成群飞来。
• The advent of the Euro will redefine Europe.欧元的出现将重新定义欧洲。

33 invoked   

v.援引( invoke的过去式和过去分词 )；行使（权利等）；祈求救助；恳求

参考例句：

• It is unlikely that libel laws will be invoked. 不大可能诉诸诽谤法。
• She had invoked the law in her own defence. 她援引法律为自己辩护。 来自《简明英汉词典》

34 boon   

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。

35 aspiration   

n.志向，志趣抱负；渴望；(语)送气音；吸出

参考例句：

• Man's aspiration should be as lofty as the stars.人的志气应当象天上的星星那么高。
• Young Addison had a strong aspiration to be an inventor.年幼的爱迪生渴望成为一名发明家。

36 aptitudes   

（学习方面的）才能，资质，天资( aptitude的名词复数 )

参考例句：

• They all require special aptitudes combined with special training. 他们都应具有专门技能，并受过专门训练。
• Do program development with passion. has aptitudes for learning. research. innovation. 热爱程序开发工作。具有学习。钻研。创新的精神。

37 extraordinarily   

adv.格外地；极端地

参考例句：

• She is an extraordinarily beautiful girl.她是个美丽非凡的姑娘。
• The sea was extraordinarily calm that morning.那天清晨，大海出奇地宁静。

38 refinement   

n.文雅；高尚；精美；精制；精炼

参考例句：

• Sally is a woman of great refinement and beauty. 莎莉是个温文尔雅又很漂亮的女士。
• Good manners and correct speech are marks of refinement.彬彬有礼和谈吐得体是文雅的标志。

39 solicitude   

n.焦虑

参考例句：

• Your solicitude was a great consolation to me.你对我的关怀给了我莫大的安慰。
• He is full of tender solicitude towards my sister.他对我妹妹满心牵挂。

40 ornament   

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。

41 perceptive   

adj.知觉的，有洞察力的，感知的

参考例句：

• This is a very perceptive assessment of the situation.这是一个对该情况的极富洞察力的评价。
• He is very perceptive and nothing can be hidden from him.他耳聪目明，什么事都很难瞒住他。

42 expressive   

adj.表现的，表达…的，富于表情的

参考例句：

• Black English can be more expressive than standard English.黑人所使用的英语可能比正式英语更有表现力。
• He had a mobile,expressive,animated face.他有一张多变的，富于表情的，生动活泼的脸。

43 intensity   

n.强烈，剧烈；强度；烈度

参考例句：

• I didn't realize the intensity of people's feelings on this issue.我没有意识到这一问题能引起群情激奋。
• The strike is growing in intensity.罢工日益加剧。

44 precocity   

n.早熟，早成

参考例句：

• The boy is remarkable for precocity. 这孩子早熟得惊人。 来自《现代汉英综合大词典》
• He is remarkable for precocity. 他早熟得惊人。 来自辞典例句

45 poetic   

adj.富有诗意的，有诗人气质的，善于抒情的

参考例句：

• His poetic idiom is stamped with expressions describing group feeling and thought.他的诗中的措辞往往带有描写群体感情和思想的印记。
• His poetic novels have gone through three different historical stages.他的诗情小说创作经历了三个不同的历史阶段。

46 noted   

adj.著名的，知名的

参考例句：

• The local hotel is noted for its good table.当地的那家酒店以餐食精美而著称。
• Jim is noted for arriving late for work.吉姆上班迟到出了名。

47 lyric   

n.抒情诗，歌词；adj.抒情的

参考例句：

• This is a good example of Shelley's lyric poetry.这首诗是雪莱抒情诗的范例。
• His earlier work announced a lyric talent of the first order.他的早期作品显露了一流的抒情才华。

48 austere   

adj.艰苦的；朴素的，朴实无华的；严峻的

参考例句：

• His way of life is rather austere.他的生活方式相当简朴。
• The room was furnished in austere style.这间屋子的陈设都很简单朴素。

49 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

50 tunes   

n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调

参考例句：

• a potpourri of tunes 乐曲集锦
• When things get a bit too much, she simply tunes out temporarily. 碰到事情太棘手时，她干脆暂时撒手不管。 来自《简明英汉词典》

51 chimera   

n.神话怪物；梦幻

参考例句：

• Religious unity remained as much a chimera as ever.宗教统一仍然和从前一样，不过是个妄想。
• I am fighting against my chimera.我在与狂想抗争。

52 temperament   

n.气质，性格，性情

参考例句：

• The analysis of what kind of temperament you possess is vital.分析一下你有什么样的气质是十分重要的。
• Success often depends on temperament.成功常常取决于一个人的性格。

53 vividly   

adv.清楚地，鲜明地，生动地

参考例句：

• The speaker pictured the suffering of the poor vividly.演讲者很生动地描述了穷人的生活。
• The characters in the book are vividly presented.这本书里的人物写得栩栩如生。

54 inadequate   

adj.(for,to)不充足的，不适当的

参考例句：

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

55 maturity   

n.成熟；完成；(支票、债券等)到期

参考例句：

• These plants ought to reach maturity after five years.这些植物五年后就该长成了。
• This is the period at which the body attains maturity.这是身体发育成熟的时期。

56 milestones   

n.重要事件( milestone的名词复数 )；重要阶段；转折点；里程碑

参考例句：

• Several important milestones in foreign policy have been passed by this Congress and they can be chalked up as major accomplishments. 这次代表大会通过了对外政策中几起划时代的事件，并且它们可作为主要成就记录下来。 来自《简明英汉词典》
• Dale: I really envy your milestones over the last few years, Don. 我真的很羡慕你在过去几年中所建立的丰功伟绩。 来自互联网

57 dexterity   

n.(手的)灵巧，灵活

参考例句：

• You need manual dexterity to be good at video games.玩好电子游戏手要灵巧。
• I'm your inferior in manual dexterity.论手巧，我不如你。

58 minor   

adj.较小(少)的，较次要的；n.辅修学科；vi.辅修

参考例句：

• The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
• I gave him a minor share of my wealth.我把小部分财产给了他。

59 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

• After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
• They're standing out against any change in the law.他们坚决反对对法律做任何修改。

60 eloquence   

n.雄辩；口才，修辞

参考例句：

• I am afraid my eloquence did not avail against the facts.恐怕我的雄辩也无补于事实了。
• The people were charmed by his eloquence.人们被他的口才迷住了。

61 pertinent   

adj.恰当的；贴切的；中肯的；有关的；相干的

参考例句：

• The expert made some pertinent comments on the scheme.那专家对规划提出了一些中肯的意见。
• These should guide him to pertinent questions for further study.这些将有助于他进一步研究有关问题。

62 juxtaposition   

n.毗邻，并置，并列

参考例句：

• The juxtaposition of these two remarks was startling.这两句话连在一起使人听了震惊。
• It is the result of the juxtaposition of contrasting colors.这是并列对比色的结果。

63 infinitely   

adv.无限地，无穷地

参考例句：

• There is an infinitely bright future ahead of us.我们有无限光明的前途。
• The universe is infinitely large.宇宙是无限大的。

64 amplitude   

n.广大；充足；振幅

参考例句：

• The amplitude of the vibration determines the loudness of the sound.振动幅度的大小决定声音的大小。
• The amplitude at the driven end is fixed by the driving mechanism.由于驱动机构的作用,使驱动端的振幅保持不变。

65 portrayal   

n.饰演；描画

参考例句：

• His novel is a vivid portrayal of life in a mining community.他的小说生动地描绘了矿区的生活。
• The portrayal of the characters in the novel is lifelike.该书中的人物写得有血有肉。

66 pictorial   

adj.绘画的；图片的；n．画报

参考例句：

• The had insisted on a full pictorial coverage of the event.他们坚持要对那一事件做详尽的图片报道。
• China Pictorial usually sells out soon after it hits the stands.《人民画报》往往一到报摊就销售一空。

67 overflows   

v.溢出，淹没( overflow的第三人称单数 )；充满；挤满了人；扩展出界，过度延伸

参考例句：

• He always fills his glass till it overflows. 他总是把杯子斟得很满。 来自《简明英汉词典》
• A distributary overflows its banks. 分流水溢出河岸。 来自辞典例句

68 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

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

69 momentous   

adj.重要的，重大的

参考例句：

• I am deeply honoured to be invited to this momentous occasion.能应邀出席如此重要的场合，我深感荣幸。
• The momentous news was that war had begun.重大的新闻是战争已经开始。

70 eschew   

v.避开，戒绝

参考例句：

• Eschew fattening foods if you want to lose weight.你如想减肥，就不要吃致肥的食物。
• Good kid should eschew bad company.好孩子应避免交坏朋友。

71 Forsaken   

adj. 被遗忘的, 被抛弃的 动词forsake的过去分词

参考例句：

• He was forsaken by his friends. 他被朋友们背弃了。
• He has forsaken his wife and children. 他遗弃了他的妻子和孩子。

72 perverse   

adj.刚愎的；坚持错误的，行为反常的

参考例句：

• It would be perverse to stop this healthy trend.阻止这种健康发展的趋势是没有道理的。
• She gets a perverse satisfaction from making other people embarrassed.她有一种不正常的心态，以使别人难堪来取乐。

73 inscribed   

v.写，刻( inscribe的过去式和过去分词 )；内接

参考例句：

• His name was inscribed on the trophy. 他的名字刻在奖杯上。
• The names of the dead were inscribed on the wall. 死者的名字被刻在墙上。 来自《简明英汉词典》

74 idiomatic   

adj.成语的，符合语言习惯的

参考例句：

• In our reading we should always be alert for idiomatic expressions.我们在阅读过程中应经常注意惯用法。
• In his lecture,he bore down on the importance of idiomatic usage in a language.他在演讲中着重强调了语言中习惯用法的重要性。

75 rend   

vt.把…撕开，割裂；把…揪下来，强行夺取

参考例句：

• Her scrams would rend the heart of any man.她的喊叫声会撕碎任何人的心。
• Will they rend the child from his mother?他们会不会把这个孩子从他的母亲身边夺走呢？

76 insistent   

adj.迫切的，坚持的

参考例句：

• There was an insistent knock on my door.我听到一阵急促的敲门声。
• He is most insistent on this point.他在这点上很坚持。

77 arduous   

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。

78 remarkably   

ad.不同寻常地，相当地

参考例句：

• I thought she was remarkably restrained in the circumstances. 我认为她在那种情况下非常克制。
• He made a remarkably swift recovery. 他康复得相当快。

79 anecdote   

n.轶事，趣闻，短故事

参考例句：

• He departed from the text to tell an anecdote.他偏离课文讲起了一则轶事。
• It had never been more than a family anecdote.那不过是个家庭趣谈罢了。

80 tragic   

adj.悲剧的，悲剧性的，悲惨的

参考例句：

• The effect of the pollution on the beaches is absolutely tragic.污染海滩后果可悲。
• Charles was a man doomed to tragic issues.查理是个注定不得善终的人。

81 complexity   

n.复杂(性)，复杂的事物

参考例句：

• Only now did he understand the full complexity of the problem.直到现在他才明白这一问题的全部复杂性。
• The complexity of the road map puzzled me.错综复杂的公路图把我搞糊涂了。

82 glamour   

n.魔力，魅力；vt.迷住

参考例句：

• Foreign travel has lost its glamour for her.到国外旅行对她已失去吸引力了。
• The moonlight cast a glamour over the scene.月光给景色增添了魅力。

83 delusive   

adj.欺骗的，妄想的

参考例句：

• Most of the people realized that their scheme was simply a delusive snare.大多数人都认识到他们的诡计不过是一个骗人的圈套。
• Everyone knows that fairy isles are delusive and illusive things,still everyone wishes they were real.明知神山缥缈，却愿其有。

84 obsession   

n.困扰，无法摆脱的思想(或情感)

参考例句：

• I was suffering from obsession that my career would be ended.那时的我陷入了我的事业有可能就此终止的困扰当中。
• She would try to forget her obsession with Christopher.她会努力忘记对克里斯托弗的迷恋。

85 furrow   

n.沟；垄沟；轨迹；车辙；皱纹

参考例句：

• The tractor has make deep furrow in the loose sand.拖拉机在松软的沙土上留下了深深的车辙。
• Mei did not weep.She only bit her lips,and the furrow in her brow deepened.梅埋下头，她咬了咬嘴唇皮，额上的皱纹显得更深了。

86 prematurely   

adv.过早地，贸然地

参考例句：

• She was born prematurely with poorly developed lungs. 她早产，肺部未发育健全。 来自《简明英汉词典》
• His hair was prematurely white, but his busy eyebrows were still jet-black. 他的头发已经白了，不过两道浓眉还是乌黑乌黑的。 来自辞典例句

87 intelligible   

adj.可理解的，明白易懂的，清楚的

参考例句：

• This report would be intelligible only to an expert in computing.只有计算机运算专家才能看懂这份报告。
• His argument was barely intelligible.他的论点不易理解。

88 inordinately   

adv.无度地，非常地

参考例句：

• But if you are determined to accumulate wealth, it isn't inordinately difficult. 不过，如果你下决心要积累财富，事情也不是太难。 来自互联网
• She was inordinately smart. 她非常聪明。 来自互联网

89 inordinate   

adj.无节制的；过度的

参考例句：

• The idea of this gave me inordinate pleasure.我想到这一点感到非常高兴。
• James hints that his heroine's demands on life are inordinate.詹姆斯暗示他的女主人公对于人生过于苛求。

90 monstrously   

参考例句：

• There is a class of men in Bristol monstrously prejudiced against Blandly. 布里斯托尔有那么一帮人为此恨透了布兰德利。
• You are monstrously audacious, how dare you misappropriate public funds? 你真是狗胆包天，公家的钱也敢挪用？

91 monstrous   

adj.巨大的；恐怖的；可耻的，丢脸的

参考例句：

• The smoke began to whirl and grew into a monstrous column.浓烟开始盘旋上升，形成了一个巨大的烟柱。
• Your behaviour in class is monstrous!你在课堂上的行为真是丢人！

92 engulf   

vt.吞没，吞食

参考例句：

• Floodwaters engulf a housing project in the Bajo Yuna community in central Dominican Republic.洪水吞没了多米尼加中部巴杰优那社区的一处在建的住房工程项目。
• If we are not strong enough to cover all the minds up,then they will engulf us,and we are in danger.如果我们不够坚强来抵挡大众的意念，就会有被他们吞没的危险。

93 copious   

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。

94 pious   

adj.虔诚的；道貌岸然的

参考例句：

• Alexander is a pious follower of the faith.亚历山大是个虔诚的信徒。
• Her mother was a pious Christian.她母亲是一个虔诚的基督教徒。

95 autobiography   

n.自传

参考例句：

• He published his autobiography last autumn.他去年秋天出版了自己的自传。
• His life story is recounted in two fascinating volumes of autobiography.这两卷引人入胜的自传小说详述了他的生平。

96 journalism   

n.新闻工作，报业

参考例句：

• He's a teacher but he does some journalism on the side.他是教师，可还兼职做一些新闻工作。
• He had an aptitude for journalism.他有从事新闻工作的才能。

97 iridescent   

adj.彩虹色的，闪色的

参考例句：

• The iridescent bubbles were beautiful.这些闪着彩虹般颜色的大气泡很美。
• Male peacocks display their iridescent feathers for prospective female mates.雄性孔雀为了吸引雌性伴侣而展现了他们彩虹色的羽毛。

98 epic   

n.史诗，叙事诗；adj.史诗般的，壮丽的

参考例句：

• I gave up my epic and wrote this little tale instead.我放弃了写叙事诗，而写了这个小故事。
• They held a banquet of epic proportions.他们举行了盛大的宴会。

99 entangled   

adj.卷入的；陷入的；被缠住的；缠在一起的v.使某人（某物/自己）缠绕，纠缠于（某物中），使某人（自己）陷入（困难或复杂的环境中）( entangle的过去式和过去分词 )

参考例句：

• The bird had become entangled in the wire netting. 那只小鸟被铁丝网缠住了。
• Some military observers fear the US could get entangled in another war. 一些军事观察家担心美国会卷入另一场战争。 来自《简明英汉词典》

100 accomplishment   

n.完成，成就，（pl.）造诣，技能

参考例句：

• The series of paintings is quite an accomplishment.这一系列的绘画真是了不起的成就。
• Money will be crucial to the accomplishment of our objectives.要实现我们的目标，钱是至关重要的。

101 pervert   

n.堕落者，反常者；vt.误用，滥用；使人堕落，使入邪路

参考例句：

• Reading such silly stories will pervert your taste for good books.读这种愚昧的故事会败坏你对好书的嗜好。
• Do not pervert the idea.别歪曲那想法。

102 applied   

adj.应用的；v.应用，适用

参考例句：

• She plans to take a course in applied linguistics.她打算学习应用语言学课程。
• This cream is best applied to the face at night.这种乳霜最好晚上擦脸用。

103 frustration   

n.挫折，失败，失效，落空

参考例句：

• He had to fight back tears of frustration.他不得不强忍住失意的泪水。
• He beat his hands on the steering wheel in frustration.他沮丧地用手打了几下方向盘。

104 vessel   

n.船舶；容器，器皿；管，导管，血管

参考例句：

• The vessel is fully loaded with cargo for Shanghai.这艘船满载货物驶往上海。
• You should put the water into a vessel.你应该把水装入容器中。

105 qualified   

adj.合格的，有资格的，胜任的，有限制的

参考例句：

• He is qualified as a complete man of letters.他有资格当真正的文学家。
• We must note that we still lack qualified specialists.我们必须看到我们还缺乏有资质的专家。

106 determined   

adj.坚定的；有决心的

参考例句：

• I have determined on going to Tibet after graduation.我已决定毕业后去西藏。
• He determined to view the rooms behind the office.他决定查看一下办公室后面的房间。

107 fable   

n.寓言；童话；神话

参考例句：

• The fable is given on the next page. 这篇寓言登在下一页上。
• He had some motive in telling this fable. 他讲这寓言故事是有用意的。

108 notation   

n.记号法，表示法，注释；[计算机]记法

参考例句：

• Music has a special system of notation.音乐有一套特殊的标记法。
• We shall find it convenient to adopt the following notation.采用下面的记号是方便的。

109 generosity   

n.大度，慷慨，慷慨的行为

参考例句：

• We should match their generosity with our own.我们应该像他们一样慷慨大方。
• We adore them for their generosity.我们钦佩他们的慷慨。

110 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

• I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
• I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。

111 inquisitive   

adj.求知欲强的，好奇的，好寻根究底的

参考例句：

• Children are usually inquisitive.小孩通常很好问。
• A pat answer is not going to satisfy an inquisitive audience.陈腔烂调的答案不能满足好奇的听众。

112 fusion   

n.溶化；熔解；熔化状态，熔和；熔接

参考例句：

• Brass is formed by the fusion of copper and zinc. 黄铜是通过铜和锌的熔合而成的。
• This alloy is formed by the fusion of two types of metal.这种合金是用两种金属熔合而成的。

113 morsels   

n.一口( morsel的名词复数 )；（尤指食物）小块，碎屑

参考例句：

• They are the most delicate morsels. 这些确是最好吃的部分。 来自辞典例句
• Foxes will scratch up grass to find tasty bug and beetle morsels. 狐狸会挖草地，寻找美味的虫子和甲壳虫。 来自互联网

114 incision   

n．切口，切开

参考例句：

• The surgeon made a small incision in the patient's cornea.外科医生在病人的眼角膜上切开一个小口。
• The technique involves making a tiny incision in the skin.这项技术需要在皮肤上切一个小口。

115 acidity   

n.酸度，酸性

参考例句：

• This plant prefers alkaline soil,though it will readily tolerate some acidity.这种植物在酸性土壤中也能生存，但硷性土壤更加适宜。
• Gastric acidity would not prevent the organism from passing into the gut.胃的酸度不能防止细菌进入肠道。

116 villa   

n.别墅，城郊小屋

参考例句：

• We rented a villa in France for the summer holidays.我们在法国租了一幢别墅消夏。
• We are quartered in a beautiful villa.我们住在一栋漂亮的别墅里。

117 intervals   

n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息

参考例句：

• The forecast said there would be sunny intervals and showers. 预报间晴，有阵雨。
• Meetings take place at fortnightly intervals. 每两周开一次会。

118 streaked   

adj.有条斑纹的，不安的v.快速移动( streak的过去式和过去分词 )；使布满条纹

参考例句：

• The children streaked off as fast as they could. 孩子们拔脚飞跑 来自《现代英汉综合大词典》
• His face was pale and streaked with dirt. 他脸色苍白，脸上有一道道的污痕。 来自辞典例句

119 pane   

n.窗格玻璃，长方块

参考例句：

• He broke this pane of glass.他打破了这块窗玻璃。
• Their breath bloomed the frosty pane.他们呼出的水气，在冰冷的窗玻璃上形成一层雾。

120 faculty   

n.才能；学院，系；(学院或系的)全体教学人员

参考例句：

• He has a great faculty for learning foreign languages.他有学习外语的天赋。
• He has the faculty of saying the right thing at the right time.他有在恰当的时候说恰当的话的才智。

121 deficient   

adj.不足的，不充份的，有缺陷的

参考例句：

• The crops are suffering from deficient rain.庄稼因雨量不足而遭受损害。
• I always have been deficient in selfconfidence and decision.我向来缺乏自信和果断。

122 phenomena   

n.现象

参考例句：

• Ade couldn't relate the phenomena with any theory he knew.艾德无法用他所知道的任何理论来解释这种现象。
• The object of these experiments was to find the connection,if any,between the two phenomena.这些实验的目的就是探索这两种现象之间的联系，如果存在着任何联系的话。

123 ecstasy   

n.狂喜，心醉神怡，入迷

参考例句：

• He listened to the music with ecstasy.他听音乐听得入了神。
• Speechless with ecstasy,the little boys gazed at the toys.小孩注视着那些玩具，高兴得说不出话来。

124 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：

• The issue engendered controversy. 这个问题引起了争论。
• The meeting engendered several quarrels. 这次会议发生了几次争吵。 来自《简明英汉词典》

125 tapestries   

n.挂毯( tapestry的名词复数 )；绣帷，织锦v.用挂毯（或绣帷）装饰( tapestry的第三人称单数 )

参考例句：

• The wall of the banqueting hall were hung with tapestries. 宴会厅的墙上挂有壁毯。 来自《简明英汉词典》
• The rooms were hung with tapestries. 房间里都装饰着挂毯。 来自《简明英汉词典》

126 omens   

n.前兆，预兆( omen的名词复数 )

参考例句：

• The omens for the game are still not propitious. 这场比赛仍不被看好。 来自辞典例句
• Such omens betide no good. 这种征兆预示情况不妙。 来自辞典例句

127 adversary   

adj.敌手，对手

参考例句：

• He saw her as his main adversary within the company.他将她视为公司中主要的对手。
• They will do anything to undermine their adversary's reputation.他们会不择手段地去损害对手的名誉。

128 trot   

n.疾走，慢跑；n.老太婆；现成译本；(复数）trots:腹泻（与the 连用）；v.小跑，快步走，赶紧

参考例句：

• They passed me at a trot.他们从我身边快步走过。
• The horse broke into a brisk trot.马突然快步小跑起来。

129 bent   

n.爱好，癖好；adj.弯的；决心的，一心的

参考例句：

• He was fully bent upon the project.他一心扑在这项计划上。
• We bent over backward to help them.我们尽了最大努力帮助他们。

130 reins   

感情，激情； 缰( rein的名词复数 )； 控制手段； 掌管； （成人带着幼儿走路以防其走失时用的）保护带

参考例句：

• She pulled gently on the reins. 她轻轻地拉着缰绳。
• The government has imposed strict reins on the import of luxury goods. 政府对奢侈品的进口有严格的控制手段。

131 sinister   

adj.不吉利的，凶恶的，左边的

参考例句：

• There is something sinister at the back of that series of crimes.在这一系列罪行背后有险恶的阴谋。
• Their proposals are all worthless and designed out of sinister motives.他们的建议不仅一钱不值，而且包藏祸心。

132 intimacy   

n.熟悉，亲密，密切关系，亲昵的言行

参考例句：

• His claims to an intimacy with the President are somewhat exaggerated.他声称自己与总统关系密切，这有点言过其实。
• I wish there were a rule book for intimacy.我希望能有个关于亲密的规则。

133 systematic   

adj.有系统的，有计划的，有方法的

参考例句：

• The way he works isn't very systematic.他的工作不是很有条理。
• The teacher made a systematic work of teaching.这个教师进行系统的教学工作。

134 mingle   

vt.使混合，使相混；vi.混合起来；相交往

参考例句：

• If we mingle with the crowd,we should not be noticed.如果我们混在人群中，就不会被注意到。
• Oil will not mingle with water.油和水不相融。

135 canopy   

n.天篷，遮篷

参考例句：

• The trees formed a leafy canopy above their heads.树木在他们头顶上空形成了一个枝叶茂盛的遮篷。
• They lay down under a canopy of stars.他们躺在繁星点点的天幕下。

136 rumour   

n.谣言，谣传，传闻

参考例句：

• I should like to know who put that rumour about.我想知道是谁散布了那谣言。
• There has been a rumour mill on him for years.几年来，一直有谣言产生，对他进行中伤。

137 murmur   

n.低语，低声的怨言；v.低语，低声而言

参考例句：

• They paid the extra taxes without a murmur.他们毫无怨言地交了附加税。
• There was a low murmur of conversation in the hall.大厅里有窃窃私语声。

138 touching   

adj.动人的，使人感伤的

参考例句：

• It was a touching sight.这是一幅动人的景象。
• His letter was touching.他的信很感人。

139 initiation   

n.开始

参考例句：

• her initiation into the world of marketing 她的初次涉足营销界
• It was my initiation into the world of high fashion. 这是我初次涉足高级时装界。

140 vouchsafed   

v.给予，赐予( vouchsafe的过去式和过去分词 )；允诺

参考例句：

• He vouchsafed to me certain family secrets. 他让我知道了某些家庭秘密。
• The significance of the event does, indeed, seem vouchsafed. 这个事件看起来确实具有重大意义。 来自辞典例句

141 sobs   

啜泣（声），呜咽（声）( sob的名词复数 )

参考例句：

• She was struggling to suppress her sobs. 她拼命不让自己哭出来。
• She burst into a convulsive sobs. 她突然抽泣起来。

142 perfectly   

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。

143 fume   

n.(usu pl.)(浓烈或难闻的)烟，气，汽

参考例句：

• The pressure of fume in chimney increases slowly from top to bottom.烟道内压力自上而下逐渐增加，底层住户的排烟最为不利。
• Your harsh words put her in a fume.你那些难听的话使她生气了。

144 intoxication   

n.wild excitement;drunkenness；poisoning

参考例句：

• He began to drink, drank himself to intoxication, till he slept obliterated. 他一直喝，喝到他快要迷糊地睡着了。
• Predator: Intoxication-Damage over time effect will now stack with other allies. Predator:Intoxication,持续性伤害的效果将会与队友相加。

145 impulsively   

adv.冲动地

参考例句：

• She leant forward and kissed him impulsively. 她倾身向前，感情冲动地吻了他。
• Every good, true, vigorous feeling I had gathered came impulsively round him. 我的一切良好、真诚而又强烈的感情都紧紧围绕着他涌现出来。

146 instinctively   

adv.本能地

参考例句：

• As he leaned towards her she instinctively recoiled. 他向她靠近，她本能地往后缩。 来自《简明英汉词典》
• He knew instinctively where he would find her. 他本能地知道在哪儿能找到她。 来自《简明英汉词典》

147 deserted   

adj.荒芜的，荒废的，无人的，被遗弃的

参考例句：

• The deserted village was filled with a deathly silence.这个荒废的村庄死一般的寂静。
• The enemy chieftain was opposed and deserted by his followers.敌人头目众叛亲离。

148 rustle   

v.沙沙作响；偷盗(牛、马等)；n.沙沙声声

参考例句：

• She heard a rustle in the bushes.她听到灌木丛中一阵沙沙声。
• He heard a rustle of leaves in the breeze.他听到树叶在微风中发出的沙沙声。

149 affected   

adj.不自然的，假装的

参考例句：

• She showed an affected interest in our subject.她假装对我们的课题感到兴趣。
• His manners are affected.他的态度不自然。

150 repugnance   

n.嫌恶

参考例句：

• He fought down a feelings of repugnance.他抑制住了厌恶感。
• She had a repugnance to the person with whom she spoke.她看不惯这个和她谈话的人。

151 wrath   

n.愤怒，愤慨，暴怒

参考例句：

• His silence marked his wrath. 他的沉默表明了他的愤怒。
• The wrath of the people is now aroused. 人们被激怒了。

152 consummately   

adv.完成地，至上地

参考例句：

• The film is a well made, atmospheric, consummately acted piece. 这部电影是一部制作精良、很有味道、表演臻于完美的作品。 来自柯林斯例句

153 beads   

n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链

参考例句：

• a necklace of wooden beads 一条木珠项链
• Beads of perspiration stood out on his forehead. 他的前额上挂着汗珠。

154 auction   

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。

155 languor   

n.无精力，倦怠

参考例句：

• It was hot,yet with a sweet languor about it.天气是炎热的，然而却有一种惬意的懒洋洋的感觉。
• She,in her languor,had not troubled to eat much.她懒懒的，没吃多少东西。

156 convalescence   

n.病后康复期

参考例句：

• She bore up well during her convalescence.她在病后恢复期间始终有信心。
• After convalescence he had a relapse.他于痊愈之后，病又发作了一次。

157 duel   

n./v.决斗；(双方的)斗争

参考例句：

• The two teams are locked in a duel for first place.两个队为争夺第一名打得难解难分。
• Duroy was forced to challenge his disparager to duel.杜洛瓦不得不向诋毁他的人提出决斗。

158 altercation   

n.争吵，争论

参考例句：

• Throughout the entire altercation,not one sensible word was uttered.争了半天，没有一句话是切合实际的。
• The boys had an altercation over the umpire's decision.男孩子们对裁判的判决颇有争议。

159 citation   

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。

160 quaint   

adj.古雅的，离奇有趣的，奇怪的

参考例句：

• There were many small lanes in the quaint village.在这古香古色的村庄里，有很多小巷。
• They still keep some quaint old customs.他们仍然保留着一些稀奇古怪的旧风俗。

161 wondrous   

adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地

参考例句：

• The internal structure of the Department is wondrous to behold.看一下国务院的内部结构是很有意思的。
• We were driven across this wondrous vast land of lakes and forests.我们乘车穿越这片有着湖泊及森林的广袤而神奇的土地。

162 wondrously   

adv.惊奇地，非常，极其

参考例句：

• She grow wondrously fond of stealing off to corners by herself. 她变得出奇地喜欢独自躲在角落里。 来自辞典例句
• If you but smile, spring zephyrs blow through my spirits, wondrously. 假使你只是仅仅对我微笑，春天的和风就会惊奇的吹过我的心灵间。 来自互联网

163 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

• All at once he fell into a state of profound melancholy.他立即陷入无尽的忧思之中。
• He felt melancholy after he failed the exam.这次考试没通过，他感到很郁闷。

164 texture   

n.(织物)质地；(材料)构造；结构；肌理

参考例句：

• We could feel the smooth texture of silk.我们能感觉出丝绸的光滑质地。
• Her skin has a fine texture.她的皮肤细腻。

165 brutally   

adv.残忍地，野蛮地，冷酷无情地

参考例句：

• The uprising was brutally put down.起义被残酷地镇压下去了。
• A pro-democracy uprising was brutally suppressed.一场争取民主的起义被残酷镇压了。

166 sufficiently   

adv.足够地，充分地

参考例句：

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

167 postulates   

v.假定，假设( postulate的第三人称单数 )

参考例句：

• They proclaimed to be eternal postulates of reason and justice. 他们宣称这些原则是理性和正义的永恒的要求。 来自辞典例句
• The school building programme postulates an increase in educational investment. 修建校舍的计画是在增加教育经费的前提下拟定的。 来自辞典例句

168 postulate   

n.假定，基本条件；vt.要求，假定

参考例句：

• Let's postulate that she is a cook.我们假定她是一位厨师。
• Freud postulated that we all have a death instinct as well as a life instinct.弗洛伊德曾假定我们所有人都有生存本能和死亡本能。

169 actively   

adv.积极地，勤奋地

参考例句：

• During this period all the students were actively participating.在这节课中所有的学生都积极参加。
• We are actively intervening to settle a quarrel.我们正在积极调解争执。

170 retraces   

v.折回( retrace的第三人称单数 )；回忆；回顾；追溯

参考例句：

• He often retraces the happy time during his young age. 他经常回忆起年轻时代的幸福时光。 来自互联网
• The museum retraces the history of the relationship between the United States and Morocco. 此博物馆在探源美国与摩洛哥的关系之历史。 来自互联网

171 confession   

n.自白，供认，承认

参考例句：

• Her confession was simply tantamount to a casual explanation.她的自白简直等于一篇即席说明。
• The police used torture to extort a confession from him.警察对他用刑逼供。

172 justification   

n.正当的理由；辩解的理由

参考例句：

• There's no justification for dividing the company into smaller units. 没有理由把公司划分成小单位。
• In the young there is a justification for this feeling. 在年轻人中有这种感觉是有理由的。

173 exasperated   

adj.恼怒的

参考例句：

• We were exasperated at his ill behaviour. 我们对他的恶劣行为感到非常恼怒。
• Constant interruption of his work exasperated him. 对他工作不断的干扰使他恼怒。

174 triumphantly   

ad.得意洋洋地；得胜地；成功地

参考例句：

• The lion was roaring triumphantly. 狮子正在发出胜利的吼叫。
• Robert was looking at me triumphantly. 罗伯特正得意扬扬地看着我。

175 exasperation   

n.愤慨

参考例句：

• He snorted with exasperation.他愤怒地哼了一声。
• She rolled her eyes in sheer exasperation.她气急败坏地转动着眼珠。

176 intercourse   

n.性交；交流，交往，交际

参考例句：

• The magazine becomes a cultural medium of intercourse between the two peoples.该杂志成为两民族间文化交流的媒介。
• There was close intercourse between them.他们过往很密。

177 frenzy   

n.疯狂，狂热，极度的激动

参考例句：

• He was able to work the young students up into a frenzy.他能激起青年学生的狂热。
• They were singing in a frenzy of joy.他们欣喜若狂地高声歌唱。

178 luminous   

adj.发光的，发亮的；光明的；明白易懂的；有启发的

参考例句：

• There are luminous knobs on all the doors in my house.我家所有门上都安有夜光把手。
• Most clocks and watches in this shop are in luminous paint.这家商店出售的大多数钟表都涂了发光漆。

179 surmounted   

战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上

参考例句：

• She was well aware of the difficulties that had to be surmounted. 她很清楚必须克服哪些困难。
• I think most of these obstacles can be surmounted. 我认为这些障碍大多数都是可以克服的。

180 abject   

adj.极可怜的，卑屈的

参考例句：

• This policy has turned out to be an abject failure.这一政策最后以惨败而告终。
• He had been obliged to offer an abject apology to Mr.Alleyne for his impertinence.他不得不低声下气，为他的无礼举动向艾莱恩先生请罪。

181 hysterical   

adj.情绪异常激动的，歇斯底里般的

参考例句：

• He is hysterical at the sight of the photo.他一看到那张照片就异常激动。
• His hysterical laughter made everybody stunned.他那歇斯底里的笑声使所有的人不知所措。

182 catastrophe   

n.大灾难，大祸

参考例句：

• I owe it to you that I survived the catastrophe.亏得你我才大难不死。
• This is a catastrophe beyond human control.这是一场人类无法控制的灾难。

183 aspire   

vi.(to，after)渴望，追求，有志于

参考例句：

• Living together with you is what I aspire toward in my life.和你一起生活是我一生最大的愿望。
• I aspire to be an innovator not a follower.我迫切希望能变成个开创者而不是跟随者。

184 superseded   

[医]被代替的，废弃的

参考例句：

• The theory has been superseded by more recent research. 这一理论已为新近的研究所取代。
• The use of machinery has superseded manual labour. 机器的使用已经取代了手工劳动。

185 pervade   

v.弥漫，遍及，充满，渗透，漫延

参考例句：

• Science and technology have come to pervade every aspect of our lives.科学和技术已经渗透到我们生活的每一个方面。
• The smell of sawdust and glue pervaded the factory.工厂里弥漫着锯屑和胶水的气味。

186 lighting   

n.照明，光线的明暗，舞台灯光

参考例句：

• The gas lamp gradually lost ground to electric lighting.煤气灯逐渐为电灯所代替。
• The lighting in that restaurant is soft and romantic.那个餐馆照明柔和而且浪漫。

187 woe   

n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌

参考例句：

• Our two peoples are brothers sharing weal and woe.我们两国人民是患难与共的兄弟。
• A man is well or woe as he thinks himself so.自认祸是祸，自认福是福。

188 enchantment   

n.迷惑，妖术，魅力

参考例句：

• The beauty of the scene filled us with enchantment.风景的秀丽令我们陶醉。
• The countryside lay as under some dread enchantment.乡村好像躺在某种可怖的魔法之下。

189 devour   

v.吞没；贪婪地注视或谛听，贪读；使着迷

参考例句：

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

190 isolated   

adj.与世隔绝的

参考例句：

• His bad behaviour was just an isolated incident. 他的不良行为只是个别事件。
• Patients with the disease should be isolated. 这种病的患者应予以隔离。

191 isolate   

vt.使孤立，隔离

参考例句：

• Do not isolate yourself from others.不要把自己孤立起来。
• We should never isolate ourselves from the masses.我们永远不能脱离群众。

192 beguiled   

v.欺骗( beguile的过去式和过去分词 )；使陶醉；使高兴；消磨（时间等）

参考例句：

• She beguiled them into believing her version of events. 她哄骗他们相信了她叙述的事情。
• He beguiled me into signing this contract. 他诱骗我签订了这项合同。 来自《现代英汉综合大词典》

193 briefly   

adv.简单地，简短地

参考例句：

• I want to touch briefly on another aspect of the problem.我想简单地谈一下这个问题的另一方面。
• He was kidnapped and briefly detained by a terrorist group.他被一个恐怖组织绑架并短暂拘禁。

194 pervades   

v.遍及，弥漫( pervade的第三人称单数 )

参考例句：

• An unpleasant smell pervades the house. 一种难闻的气味弥漫了全屋。 来自《简明英汉词典》
• An atmosphere of pessimism pervades the economy. 悲观的气氛笼罩着整个经济。 来自辞典例句

195 variance   

n.矛盾，不同

参考例句：

• The question of woman suffrage sets them at variance. 妇女参政的问题使他们发生争执。
• It is unnatural for brothers to be at variance. 兄弟之间不睦是不近人情的。

196 urns   

n.壶( urn的名词复数 )；瓮；缸；骨灰瓮

参考例句：

• Wine utensils unearthed include jars, urns, pots, bowls and cups. 发掘出的酒器皿有瓶、瓮、罐、壶、碗和杯子。 来自互联网
• Ernie yearned to learn to turn urns. 呕尼渴望学会转咖啡壶。 来自互联网

197 cumulative   

adj.累积的，渐增的

参考例句：

• This drug has a cumulative effect.这种药有渐增的效力。
• The benefits from eating fish are cumulative.吃鱼的好处要长期才能显现。

198 virtues   

美德( virtue的名词复数 )； 德行； 优点； 长处

参考例句：

• Doctors often extol the virtues of eating less fat. 医生常常宣扬少吃脂肪的好处。
• She delivered a homily on the virtues of family life. 她进行了一场家庭生活美德方面的说教。

199 virtue   

n.德行，美德；贞操；优点；功效，效力

参考例句：

• He was considered to be a paragon of virtue.他被认为是品德尽善尽美的典范。
• You need to decorate your mind with virtue.你应该用德行美化心灵。

200 ordeal   

n.苦难经历，（尤指对品格、耐力的）严峻考验

参考例句：

• She managed to keep her sanity throughout the ordeal.在那场磨难中她始终保持神志正常。
• Being lost in the wilderness for a week was an ordeal for me.在荒野里迷路一星期对我来说真是一场磨难。

201 frankly   

adv.坦白地，直率地；坦率地说

参考例句：

• To speak frankly, I don't like the idea at all.老实说，我一点也不赞成这个主意。
• Frankly speaking, I'm not opposed to reform.坦率地说，我不反对改革。

202 ignoble   

adj.不光彩的，卑鄙的；可耻的

参考例句：

• There's something cowardly and ignoble about such an attitude.这种态度有点怯懦可鄙。
• Some very great men have come from ignoble families.有些伟人出身低微。

203 essentially   

adv.本质上，实质上，基本上

参考例句：

• Really great men are essentially modest.真正的伟人大都很谦虚。
• She is an essentially selfish person.她本质上是个自私自利的人。

204 explicitly   

ad.明确地，显然地

参考例句：

• The plan does not explicitly endorse the private ownership of land. 该计划没有明确地支持土地私有制。
• SARA amended section 113 to provide explicitly for a right to contribution. 《最高基金修正与再授权法案》修正了第123条，清楚地规定了分配权。 来自英汉非文学 - 环境法 - 环境法

205 dissimulation   

n.掩饰，虚伪，装糊涂

参考例句：

• A habit of dissimulation is a hindrance, and a poorness to him. 在他这样的一个人，一种掩饰的习惯是一种阻挠，一个弱点。 来自《简明英汉词典》
• Still we have our limits beyond which we call dissimulation treachery. 不过我们仍然有自己的限度，超过这个界限，就是虚伪与背信弃义。 来自辞典例句

206 systematically   

adv.有系统地

参考例句：

• This government has systematically run down public services since it took office.这一屆政府自上台以来系统地削减了公共服务。
• The rainforest is being systematically destroyed.雨林正被系统地毀灭。

207 condemns   

v.（通常因道义上的原因而）谴责( condemn的第三人称单数 )；宣判；宣布…不能使用；迫使…陷于不幸的境地

参考例句：

• Her widowhood condemns her to a lonely old age. 守寡使她不得不过着孤独的晚年生活。 来自《简明英汉词典》
• The public opinion condemns prostitution. 公众舆论遣责卖淫。 来自《现代汉英综合大词典》

208 isolation   

n.隔离，孤立，分解，分离

参考例句：

• The millionaire lived in complete isolation from the outside world.这位富翁过着与世隔绝的生活。
• He retired and lived in relative isolation.他退休后，生活比较孤寂。

209 insistence   

n.坚持；强调；坚决主张

参考例句：

• They were united in their insistence that she should go to college.他们一致坚持她应上大学。
• His insistence upon strict obedience is correct.他坚持绝对服从是对的。

210 inquiry   

n.打听，询问，调查，查问

参考例句：

• Many parents have been pressing for an inquiry into the problem.许多家长迫切要求调查这个问题。
• The field of inquiry has narrowed down to five persons.调查的范围已经缩小到只剩5个人了。

211 penetration   

n.穿透，穿人，渗透

参考例句：

• He is a man of penetration.他是一个富有洞察力的人。
• Our aim is to achieve greater market penetration.我们的目标是进一步打入市场。

212 dealing   

n.经商方法，待人态度

参考例句：

• This store has an excellent reputation for fair dealing.该商店因买卖公道而享有极高的声誉。
• His fair dealing earned our confidence.他的诚实的行为获得我们的信任。

213 gregarious   

adj.群居的，喜好群居的

参考例句：

• These animals are highly gregarious.这些动物非常喜欢群居。
• They are gregarious birds and feed in flocks.它们是群居鸟类，会集群觅食。

214 positively   

adv.明确地，断然，坚决地；实在，确实

参考例句：

• She was positively glowing with happiness.她满脸幸福。
• The weather was positively poisonous.这天气着实讨厌。

215 sentimental   

adj.多愁善感的，感伤的

参考例句：

• She's a sentimental woman who believes marriage comes by destiny.她是多愁善感的人，她相信姻缘命中注定。
• We were deeply touched by the sentimental movie.我们深深被那感伤的电影所感动。

216 utterly   

adv.完全地，绝对地

参考例句：

• Utterly devoted to the people,he gave his life in saving his patients.他忠于人民，把毕生精力用于挽救患者的生命。
• I was utterly ravished by the way she smiled.她的微笑使我完全陶醉了。

217 severed   

v.切断，断绝( sever的过去式和过去分词 )；断，裂

参考例句：

• The doctor said I'd severed a vessel in my leg. 医生说我割断了腿上的一根血管。 来自《简明英汉词典》
• We have severed diplomatic relations with that country. 我们与那个国家断绝了外交关系。 来自《简明英汉词典》

218 reticent   

adj.沉默寡言的；言不如意的

参考例句：

• He was reticent about his opinion.他有保留意见。
• He was extremely reticent about his personal life.他对自己的个人生活讳莫如深。

219 misery   

n.痛苦，苦恼，苦难；悲惨的境遇，贫苦

参考例句：

• Business depression usually causes misery among the working class.商业不景气常使工薪阶层受苦。
• He has rescued me from the mire of misery.他把我从苦海里救了出来。

220 pangs   

突然的剧痛( pang的名词复数 )； 悲痛

参考例句：

• She felt sudden pangs of regret. 她突然感到痛悔不已。
• With touching pathos he described the pangs of hunger. 他以极具感伤力的笔触描述了饥饿的痛苦。

221 pang   

n.剧痛，悲痛，苦闷

参考例句：

• She experienced a sharp pang of disappointment.她经历了失望的巨大痛苦。
• She was beginning to know the pang of disappointed love.她开始尝到了失恋的痛苦。

222 proceeding   

n.行动，进行，(pl.)会议录，学报

参考例句：

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

223 professed   

公开声称的，伪称的，已立誓信教的

参考例句：

• These, at least, were their professed reasons for pulling out of the deal. 至少这些是他们自称退出这宗交易的理由。
• Her manner professed a gaiety that she did not feel. 她的神态显出一种她并未实际感受到的快乐。

224 mantle   

n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红

参考例句：

• The earth had donned her mantle of brightest green.大地披上了苍翠欲滴的绿色斗篷。
• The mountain was covered with a mantle of snow.山上覆盖着一层雪。

225 embroidery   

n.绣花，刺绣；绣制品

参考例句：

• This exquisite embroidery won people's great admiration.这件精美的绣品，使人惊叹不已。
• This is Jane's first attempt at embroidery.这是简第一次试着绣花。

226 delirium   

n. 神智昏迷,说胡话;极度兴奋

参考例句：

• In her delirium, she had fallen to the floor several times. 她在神志不清的状态下几次摔倒在地上。
• For the next nine months, Job was in constant delirium.接下来的九个月，约伯处于持续精神错乱的状态。

227 prostration   

n. 平伏, 跪倒, 疲劳

参考例句：

• a state of prostration brought on by the heat 暑热导致的虚脱状态
• A long period of worrying led to her nervous prostration. 长期的焦虑导致她的神经衰弱。

228 decency   

n.体面，得体，合宜，正派，庄重

参考例句：

• His sense of decency and fair play made him refuse the offer.他的正直感和公平竞争意识使他拒绝了这一提议。
• Your behaviour is an affront to public decency.你的行为有伤风化。

229 hurls   

v.猛投，用力掷( hurl的第三人称单数 )；大声叫骂

参考例句：

• Jane really hurls herself into learning any new song, doesn't she? 对任何新歌，简都会一心一意去学，对吗？ 来自《简明英汉词典》
• The necromancer hurls a bolt of dark energies against his enemies. 亡灵法师向对手射出一道带着黑暗能量的影束。 来自互联网

230 appalled   

v.使惊骇，使充满恐惧( appall的过去式和过去分词)adj.惊骇的；丧胆的

参考例句：

• The brutality of the crime has appalled the public. 罪行之残暴使公众大为震惊。
• They were appalled by the reports of the nuclear war. 他们被核战争的报道吓坏了。 来自《简明英汉词典》

231 arid   

adj.干旱的；(土地)贫瘠的

参考例句：

• These trees will shield off arid winds and protect the fields.这些树能挡住旱风,保护农田。
• There are serious problems of land degradation in some arid zones.在一些干旱地带存在严重的土地退化问题。

232 aridity   

n.干旱，乏味；干燥性；荒芜

参考例句：

• The name Sahara conjures up images of a desert of aridity. "撒哈拉"这个名字使人想起干旱的沙漠情景。 来自辞典例句
• The name conjures up images of a desert of aridity. “撒哈拉”这个名字使人想起“干旱”的沙漠情景。 来自互联网

233 expended   

v.花费( expend的过去式和过去分词 )；使用（钱等）做某事；用光；耗尽

参考例句：

• She expended all her efforts on the care of home and children. 她把所有精力都花在料理家务和照顾孩子上。
• The enemy had expended all their ammunition. 敌人已耗尽所有的弹药。 来自《简明英汉词典》

234 formulates   

v.构想出( formulate的第三人称单数 )；规划；确切地阐述；用公式表示

参考例句：

• Article Eleven SEPA formulates the overall plans of the training. 第十一条环保总局统筹规划培训工作。 来自互联网
• This paper carries on the experimental analysis and formulates some anti-disturbance measures. 文章对电磁干扰进行了实验分析，并有针对性地制定一些抗干扰措施。 来自互联网

235 impasse   

n.僵局；死路

参考例句：

• The government had reached an impasse.政府陷入绝境。
• Negotiations seemed to have reached an impasse.谈判似乎已经陷入僵局。

236 rends   

v.撕碎( rend的第三人称单数 )；分裂；（因愤怒、痛苦等而）揪扯（衣服或头发等）；（声音等）刺破

参考例句：

• Just as the blade rends flesh, so must power scar the spirit. 如同这把剑撕开那些肉体一样，它也将撕开使用者的灵魂。 来自互联网

237 faculties   

n.能力( faculty的名词复数 )；全体教职员；技巧；院

参考例句：

• Although he's ninety, his mental faculties remain unimpaired. 他虽年届九旬，但头脑仍然清晰。
• All your faculties have come into play in your work. 在你的工作中，你的全部才能已起到了作用。 来自《简明英汉词典》

238 lurid   

adj.可怕的；血红的；苍白的

参考例句：

• The paper gave all the lurid details of the murder.这份报纸对这起凶杀案耸人听闻的细节描写得淋漓尽致。
• The lurid sunset puts a red light on their faces.血红一般的夕阳映红了他们的脸。

239 embellished   

v.美化( embellish的过去式和过去分词 )；装饰；修饰；润色

参考例句：

• The door of the old church was embellished with decorations. 老教堂的门是用雕饰美化的。 来自《简明英汉词典》
• The stern was embellished with carvings in red and blue. 船尾饰有红色和蓝色的雕刻图案。 来自辞典例句

240 gilded   

a.镀金的，富有的

参考例句：

• The golden light gilded the sea. 金色的阳光使大海如金子般闪闪发光。
• "Friends, they are only gilded disks of lead!" "朋友们，这只不过是些镀金的铅饼！ 来自英汉文学 - 败坏赫德莱堡

241 glimmering   

n.微光，隐约的一瞥adj.薄弱地发光的v.发闪光，发微光( glimmer的现在分词 )

参考例句：

• I got some glimmering of what he was driving at. 他这么说是什么意思，我有点明白了。 来自辞典例句
• Now that darkness was falling, only their silhouettes were outlined against the faintly glimmering sky. 这时节两山只剩余一抹深黑，赖天空微明为画出一个轮廓。 来自汉英文学 - 散文英译

242 glimmer   

v.发出闪烁的微光；n.微光，微弱的闪光

参考例句：

• I looked at her and felt a glimmer of hope.我注视她，感到了一线希望。
• A glimmer of amusement showed in her eyes.她的眼中露出一丝笑意。

243 injustice   

n.非正义，不公正，不公平，侵犯（别人的）权利

参考例句：

• They complained of injustice in the way they had been treated.他们抱怨受到不公平的对待。
• All his life he has been struggling against injustice.他一生都在与不公正现象作斗争。

244 resentment   

n.怨愤，忿恨

参考例句：

• All her feelings of resentment just came pouring out.她一股脑儿倾吐出所有的怨恨。
• She cherished a deep resentment under the rose towards her employer.她暗中对她的雇主怀恨在心。

245 lamentably   

adv.哀伤地，拙劣地

参考例句：

• Aviation was lamentably weak and primitive. 航空设施极其薄弱简陋。 来自辞典例句
• Poor Tom lamentably disgraced himself at Sir Charles Mirable's table, by premature inebriation. 可怜的汤姆在查尔斯·米拉贝尔爵士的宴会上，终于入席不久就酩酊大醉，弄得出丑露乖，丢尽了脸皮。 来自辞典例句

246 condemned   

adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词

参考例句：

• He condemned the hypocrisy of those politicians who do one thing and say another. 他谴责了那些说一套做一套的政客的虚伪。
• The policy has been condemned as a regressive step. 这项政策被认为是一种倒退而受到谴责。

247 cultivation   

n.耕作，培养，栽培（法），养成

参考例句：

• The cultivation in good taste is our main objective.培养高雅情趣是我们的主要目标。
• The land is not fertile enough to repay cultivation.这块土地不够肥沃，不值得耕种。

248 inevitability   

n.必然性

参考例句：

• Evolutionism is normally associated with a belief in the inevitability of progress. 进化主义通常和一种相信进步不可避免的看法相联系。
• It is the tide of the times, an inevitability of history. 这是时代的潮流，历史的必然。

249 ferocious   

adj.凶猛的，残暴的，极度的，十分强烈的

参考例句：

• The ferocious winds seemed about to tear the ship to pieces.狂风仿佛要把船撕成碎片似的。
• The ferocious panther is chasing a rabbit.那只凶猛的豹子正追赶一只兔子。

250 lustre   

n.光亮，光泽；荣誉

参考例句：

• The sun was shining with uncommon lustre.太阳放射出异常的光彩。
• A good name keeps its lustre in the dark.一个好的名誉在黑暗中也保持它的光辉。

251 pampered   

adj.饮食过量的，饮食奢侈的v.纵容，宠，娇养( pamper的过去式和过去分词 )

参考例句：

• The lazy scum deserve worse. What if they ain't fed up and pampered? 他们吃不饱，他们的要求满足不了，这又有什么关系？ 来自飘（部分）
• She petted and pampered him and would let no one discipline him but she, herself. 她爱他，娇养他，而且除了她自己以外，她不允许任何人管教他。 来自辞典例句

252 smothered   

（使）窒息， （使）透不过气( smother的过去式和过去分词 )； 覆盖； 忍住； 抑制

参考例句：

• He smothered the baby with a pillow. 他用枕头把婴儿闷死了。
• The fire is smothered by ashes. 火被灰闷熄了。

253 fragrances   

n.芳香，香味( fragrance的名词复数 )；香水

参考例句：

• The bath oil comes in various fragrances. 这种沐浴油有不同的香味。
• This toilet soap lathers so nicely and has several fragrances. 这种香皂起泡很多，并且有好几种香味。 来自《现代汉英综合大词典》

254 blighted   

adj.枯萎的，摧毁的

参考例句：

• Blighted stems often canker.有病的茎往往溃烂。
• She threw away a blighted rose.她把枯萎的玫瑰花扔掉了。

255 enchanting   

a.讨人喜欢的

参考例句：

• His smile, at once enchanting and melancholy, is just his father's. 他那种既迷人又有些忧郁的微笑，活脱儿象他父亲。
• Its interior was an enchanting place that both lured and frightened me. 它的里头是个吸引人的地方，我又向往又害怕。

256 irresistible   

adj.非常诱人的，无法拒绝的，无法抗拒的

参考例句：

• The wheel of history rolls forward with an irresistible force.历史车轮滚滚向前，势不可挡。
• She saw an irresistible skirt in the store window.她看见商店的橱窗里有一条叫人着迷的裙子。

257 consecrated   

adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献

参考例句：

• The church was consecrated in 1853. 这座教堂于1853年祝圣。
• They consecrated a temple to their god. 他们把庙奉献给神。 来自《简明英汉词典》

258 virgins   

处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母）

参考例句：

• They were both virgins when they met and married. 他们从相识到结婚前都未曾经历男女之事。
• Men want virgins as concubines. 人家买姨太太的要整货。 来自汉英文学 - 骆驼祥子

259 insidious   

adj.阴险的，隐匿的，暗中为害的，（疾病）不知不觉之间加剧

参考例句：

• That insidious man bad-mouthed me to almost everyone else.那个阴险的家伙几乎见人便说我的坏话。
• Organized crime has an insidious influence on all who come into contact with it.所有和集团犯罪有关的人都会不知不觉地受坏影响。

260 middle-aged   

adj.中年的

参考例句：

• I noticed two middle-aged passengers.我注意到两个中年乘客。
• The new skin balm was welcome by middle-aged women.这种新护肤香膏受到了中年妇女的欢迎。

261 battered   

adj.磨损的；v.连续猛击；磨损

参考例句：

• He drove up in a battered old car.他开着一辆又老又破的旧车。
• The world was brutally battered but it survived.这个世界遭受了惨重的创伤,但它还是生存下来了。

262 promiscuous   

adj.杂乱的，随便的

参考例句：

• They were taking a promiscuous stroll when it began to rain.他们正在那漫无目的地散步，突然下起雨来。
• Alec know that she was promiscuous and superficial.亚历克知道她是乱七八糟和浅薄的。

263 conspiring   

密谋( conspire的现在分词 )； 搞阴谋； （事件等）巧合； 共同导致

参考例句：

• They were accused of conspiring against the king. 他们被指控阴谋反对国王。
• John Brown and his associates were tried for conspiring to overthrow the slave states. 约翰·布朗和他的合伙者们由于密谋推翻实行奴隶制度的美国各州而被审讯。

264 repudiation   

n.拒绝；否认；断绝关系；抛弃

参考例句：

• Datas non-repudiation is very important in the secure communication. 在安全数据的通讯中，数据发送和接收的非否认十分重要。 来自互联网
• There are some goals of Certified E-mail Protocol: confidentiality non-repudiation and fairness. 挂号电子邮件协议需要具备保密性、不可否认性及公平性。 来自互联网

265 elegance   

n.优雅；优美，雅致；精致，巧妙

参考例句：

• The furnishings in the room imparted an air of elegance.这个房间的家具带给这房间一种优雅的气氛。
• John has been known for his sartorial elegance.约翰因为衣着讲究而出名。

266 dissimulated   

v.掩饰（感情），假装（镇静）( dissimulate的过去式和过去分词 )

参考例句：

267 precarious   

adj.不安定的，靠不住的；根据不足的

参考例句：

• Our financial situation had become precarious.我们的财务状况已变得不稳定了。
• He earned a precarious living as an artist.作为一个艺术家，他过得是朝不保夕的生活。

268 definitive   

adj.确切的，权威性的；最后的，决定性的

参考例句：

• This book is the definitive guide to world cuisine.这本书是世界美食的权威指南。
• No one has come up with a definitive answer as to why this should be so.至于为什么该这样，还没有人给出明确的答复。

269 forsaking   

放弃( forsake的现在分词 )； 弃绝； 抛弃； 摒弃

参考例句：

• I will not be cowed into forsaking my beliefs. 我不会因为被恐吓而放弃自己的信仰。
• At fourteen he ran away, forsaking his home and friends. 他十四岁出走，离开了家乡和朋友。

270 luxurious   

adj.精美而昂贵的；豪华的

参考例句：

• This is a luxurious car complete with air conditioning and telephone.这是一辆附有空调设备和电话的豪华轿车。
• The rich man lives in luxurious surroundings.这位富人生活在奢侈的环境中。

271 abounds   

v.大量存在，充满，富于( abound的第三人称单数 )

参考例句：

• The place abounds with fruit, especially pears and peaches. 此地盛产水果，尤以梨桃著称。 来自《现代汉英综合大词典》
• This country abounds with fruit. 这个国家盛产水果。 来自《现代汉英综合大词典》

272 provincial   

adj.省的，地方的；n．外省人，乡下人

参考例句：

• City dwellers think country folk have provincial attitudes.城里人以为乡下人思想迂腐。
• Two leading cadres came down from the provincial capital yesterday.昨天从省里下来了两位领导干部。

273 verge   

n.边，边缘；v.接近，濒临

参考例句：

• The country's economy is on the verge of collapse.国家的经济已到了崩溃的边缘。
• She was on the verge of bursting into tears.她快要哭出来了。

274 abjection   

n. 卑鄙, 落魄

参考例句：

• We protest this vile abjection of youth to age. 我们反对年轻人如此卑劣地苛待老年人。
• I simply cannot put up with your abjection to his patronizing tone. 我就是受不了你对他那种高高在上的腔调还那么低三下四。

275 sordid   

adj.肮脏的，不干净的，卑鄙的，暗淡的

参考例句：

• He depicts the sordid and vulgar sides of life exclusively.他只描写人生肮脏和庸俗的一面。
• They lived in a sordid apartment.他们住在肮脏的公寓房子里。

276 abhorred   

v.憎恶( abhor的过去式和过去分词 )；（厌恶地）回避；拒绝；淘汰

参考例句：

• He abhorred the thoughts of stripping me and making me miserable. 他憎恶把我掠夺干净，使我受苦的那个念头。 来自辞典例句
• Each of these oracles hated a particular phrase. Liu the Sage abhorred "Not right for sowing". 二诸葛忌讳“不宜栽种”，三仙姑忌讳“米烂了”。 来自汉英文学 - 中国现代小说

277 notably   

adv.值得注意地，显著地，尤其地，特别地

参考例句：

• Many students were absent,notably the monitor.许多学生缺席，特别是连班长也没来。
• A notably short,silver-haired man,he plays basketball with his staff several times a week.他个子明显较为矮小，一头银发，每周都会和他的员工一起打几次篮球。

278 shrine   

n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣

参考例句：

• The shrine was an object of pilgrimage.这处圣地是人们朝圣的目的地。
• They bowed down before the shrine.他们在神龛前鞠躬示敬。

279 deformed   

adj.畸形的；变形的；丑的，破相了的

参考例句：

• He was born with a deformed right leg.他出生时右腿畸形。
• His body was deformed by leprosy.他的身体因为麻风病变形了。

280 hideous   

adj.丑陋的，可憎的，可怕的，恐怖的

参考例句：

• The whole experience had been like some hideous nightmare.整个经历就像一场可怕的噩梦。
• They're not like dogs,they're hideous brutes.它们不像狗，是丑陋的畜牲。

281 plunge   

v.跳入，(使)投入，(使)陷入；猛冲

参考例句：

• Test pool's water temperature before you plunge in.在你跳入之前你应该测试水温。
• That would plunge them in the broil of the two countries.那将会使他们陷入这两国的争斗之中。

282 rites   

仪式，典礼( rite的名词复数 )

参考例句：

• to administer the last rites to sb 给某人举行临终圣事
• He is interested in mystic rites and ceremonies. 他对神秘的仪式感兴趣。

283 portrayed   

v.画像( portray的过去式和过去分词 )；描述；描绘；描画

参考例句：

• Throughout the trial, he portrayed himself as the victim. 在审讯过程中，他始终把自己说成是受害者。
• The author portrayed his father as a vicious drunkard. 作者把他父亲描绘成一个可恶的酒鬼。 来自《现代汉英综合大词典》

284 looming   

n.上现蜃景（光通过低层大气发生异常折射形成的一种海市蜃楼）v.隐约出现，阴森地逼近( loom的现在分词 )；隐约出现，阴森地逼近

参考例句：

• The foothills were looming ahead through the haze. 丘陵地带透过薄雾朦胧地出现在眼前。 来自《简明英汉词典》
• Then they looked up. Looming above them was Mount Proteome. 接着他们往上看，在其上隐约看到的是蛋白质组山。 来自英汉非文学 - 生命科学 - 回顾与展望

285 delirious   

adj.不省人事的，神智昏迷的

参考例句：

• He was delirious,murmuring about that matter.他精神恍惚，低声叨念着那件事。
• She knew that he had become delirious,and tried to pacify him.她知道他已经神志昏迷起来了，极力想使他镇静下来。

286 protagonist   

n.(思想观念的)倡导者；主角，主人公

参考例句：

• The protagonist reforms in the end and avoids his proper punishment.戏剧主角最后改过自新并避免了他应受的惩罚。
• He is the model for the protagonist in the play.剧本中的主人公就是以他为模特儿创作的！

287 beguiles   

v.欺骗( beguile的第三人称单数 )；使陶醉；使高兴；消磨（时间等）

参考例句：

• There are far subtler ways that sight bewitches and beguiles. 运用视觉引诱蛊惑人有很多技巧。 来自互联网
• Heaven and Earth of peace beguiles. 欺骗着平安的天堂和人世。 来自互联网

288 vaguely   

adv.含糊地，暖昧地

参考例句：

• He had talked vaguely of going to work abroad.他含糊其词地说了到国外工作的事。
• He looked vaguely before him with unseeing eyes.他迷迷糊糊的望着前面，对一切都视而不见。

289 doom   

n.厄运，劫数；v.注定，命定

参考例句：

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

290 shriek   

v./n.尖叫，叫喊

参考例句：

• Suddenly he began to shriek loudly.突然他开始大声尖叫起来。
• People sometimes shriek because of terror,anger,or pain.人们有时会因为恐惧，气愤或疼痛而尖叫。

291 dodges   

n.闪躲( dodge的名词复数 )；躲避；伎俩；妙计v.闪躲( dodge的第三人称单数 )；回避

参考例句：

• He tried all sorts of dodges to avoid being called up. 他挖空心思，耍弄各种花招以逃避被征召入伍。 来自《简明英汉词典》
• Those were the dodges he used to escape taxation. 那些是他用以逃税的诡计。 来自辞典例句

292 supplicated   

v.祈求，哀求，恳求( supplicate的过去式和过去分词 )

参考例句：

• She supplicated the judge for protection. 她恳求法官保护。 来自《简明英汉词典》
• He supplicated the king for clemency. 他恳求国王开恩。 来自互联网

293 stammered   

v.结巴地说出( stammer的过去式和过去分词 )

参考例句：

• He stammered most when he was nervous. 他一紧张往往口吃。 来自《现代英汉综合大词典》
• Barsad leaned back in his chair, and stammered, \"What do you mean?\" 巴萨往椅背上一靠，结结巴巴地说，“你是什么意思？” 来自英汉文学 - 双城记

294 precipice   

n.悬崖，危急的处境

参考例句：

• The hut hung half over the edge of the precipice.那间小屋有一半悬在峭壁边上。
• A slight carelessness on this precipice could cost a man his life.在这悬崖上稍一疏忽就会使人丧生。

295 plunged   

v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降

参考例句：

• The train derailed and plunged into the river. 火车脱轨栽进了河里。
• She lost her balance and plunged 100 feet to her death. 她没有站稳，从100英尺的高处跌下摔死了。

296 previously   

adv.以前，先前（地）

参考例句：

• The bicycle tyre blew out at a previously damaged point.自行车胎在以前损坏过的地方又爆开了。
• Let me digress for a moment and explain what had happened previously.让我岔开一会儿，解释原先发生了什么。

297 physically   

adj.物质上，体格上，身体上，按自然规律

参考例句：

• He was out of sorts physically,as well as disordered mentally.他浑身不舒服，心绪也很乱。
• Every time I think about it I feel physically sick.一想起那件事我就感到极恶心。

298 afflicted   

使受痛苦，折磨( afflict的过去式和过去分词 )

参考例句：

• About 40% of the country's population is afflicted with the disease. 全国40%左右的人口患有这种疾病。
• A terrible restlessness that was like to hunger afflicted Martin Eden. 一阵可怕的、跟饥饿差不多的不安情绪折磨着马丁·伊登。

299 evocation   

n. 引起，唤起 n. <古> 召唤，招魂

参考例句：

• Against this brilliant evocation of airlessness we may put Whitman's view of the poet. 我们从他这段批评诗人无生气的精采论述中，可以看出惠特曼对于诗人的看法。
• It prefers evocation spells and illusions to help it disguise It'self. 他更喜欢塑能系法术和可以辅助伪装自己的幻术。

300 miseries   

n.痛苦( misery的名词复数 )；痛苦的事；穷困；常发牢骚的人

参考例句：

• They forgot all their fears and all their miseries in an instant. 他们马上忘记了一切恐惧和痛苦。 来自《现代汉英综合大词典》
• I'm suffering the miseries of unemployment. 我正为失业而痛苦。 来自《简明英汉词典》

301 ecstasies   

狂喜( ecstasy的名词复数 )； 出神； 入迷； 迷幻药

参考例句：

• In such ecstasies that he even controlled his tongue and was silent. 但他闭着嘴，一言不发。
• We were in ecstasies at the thought of going home. 一想到回家，我们高兴极了。

302 grovelling   

adj.卑下的，奴颜婢膝的v.卑躬屈节，奴颜婢膝( grovel的现在分词 )；趴

参考例句：

• Can a policeman possibly enjoy grovelling in the dirty side of human behaivour? 一个警察成天和人类行为的丑恶面打交道，能感到津津有味吗？ 来自互联网

303 originality   

n.创造力，独创性；新颖

参考例句：

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

304 impugned   

v.非难，指谪( impugn的过去式和过去分词 )；对…有怀疑

参考例句：

• All I can hope is that the good name of the Bank will not be impugned in some way. 我所希望的，就是该银行的好名声不要在某些方面受到质疑。 来自辞典例句

305 margin   

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。

306 judgment   

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。

307 attenuated   

v.（使）变细( attenuate的过去式和过去分词 )；（使）变薄；（使）变小；减弱

参考例句：

• an attenuated form of the virus 毒性已衰减的病毒
• You're a seraphic suggestion of attenuated thought . 你的思想是轻灵得如同天使一般的。 来自辞典例句

308 amiable   

adj.和蔼可亲的，友善的，亲切的

参考例句：

• She was a very kind and amiable old woman.她是个善良和气的老太太。
• We have a very amiable companionship.我们之间存在一种友好的关系。

309 loyalties   

n.忠诚( loyalty的名词复数 )；忠心；忠于…感情；要忠于…的强烈感情

参考例句：

• an intricate network of loyalties and relationships 忠诚与义气构成的盘根错节的网络
• Rows with one's in-laws often create divided loyalties. 与姻亲之间的矛盾常常让人两面为难。 来自《简明英汉词典》

310 resonance   

n.洪亮；共鸣；共振

参考例句：

• Playing the piano sets up resonance in those glass ornaments.一弹钢琴那些玻璃饰物就会产生共振。
• The areas under the two resonance envelopes are unequal.两个共振峰下面的面积是不相等的。

311 shrill   

adj.尖声的；刺耳的；v尖叫

参考例句：

• Whistles began to shrill outside the barn.哨声开始在谷仓外面尖叫。
• The shrill ringing of a bell broke up the card game on the cutter.刺耳的铃声打散了小汽艇的牌局。

312 puncture   

n.刺孔，穿孔；v.刺穿，刺破

参考例句：

• Failure did not puncture my confidence.失败并没有挫伤我的信心。
• My bicycle had a puncture and needed patching up.我的自行车胎扎了个洞，需要修补。

313 swollen   

adj.肿大的，水涨的；v.使变大，肿胀

参考例句：

• Her legs had got swollen from standing up all day.因为整天站着，她的双腿已经肿了。
• A mosquito had bitten her and her arm had swollen up.蚊子叮了她，她的手臂肿起来了。

314 abruptly   

adv.突然地，出其不意地

参考例句：

• He gestured abruptly for Virginia to get in the car.他粗鲁地示意弗吉尼亚上车。
• I was abruptly notified that a half-hour speech was expected of me.我突然被通知要讲半个小时的话。

315 arteries   

n.动脉( artery的名词复数 )；干线，要道

参考例句：

• Even grafting new blood vessels in place of the diseased coronary arteries has been tried. 甚至移植新血管代替不健康的冠状动脉的方法都已经试过。 来自《简明英汉词典》
• This is the place where the three main arteries of West London traffic met. 这就是伦敦西部三条主要交通干线的交汇处。 来自《简明英汉词典》

316 corpse   

n.尸体，死尸

参考例句：

• What she saw was just an unfeeling corpse.她见到的只是一具全无感觉的尸体。
• The corpse was preserved from decay by embalming.尸体用香料涂抹以防腐烂。

317 inflated   

adj.（价格）飞涨的；（通货）膨胀的；言过其实的；充了气的v.使充气（于轮胎、气球等）( inflate的过去式和过去分词 )；（使）膨胀；（使）通货膨胀；物价上涨

参考例句：

• He has an inflated sense of his own importance. 他自视过高。
• They all seem to take an inflated view of their collective identity. 他们对自己的集体身份似乎都持有一种夸大的看法。 来自《简明英汉词典》

318 rustling   

n. 瑟瑟声，沙沙声 adj. 发沙沙声的

参考例句：

• the sound of the trees rustling in the breeze 树木在微风中发出的沙沙声
• the soft rustling of leaves 树叶柔和的沙沙声

319 tinkle   

vi.叮当作响；n.叮当声

参考例句：

• The wine glass dropped to the floor with a tinkle.酒杯丁零一声掉在地上。
• Give me a tinkle and let me know what time the show starts.给我打个电话，告诉我演出什么时候开始。

320 indifference   

n.不感兴趣，不关心，冷淡，不在乎

参考例句：

• I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
• He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。

321 possessed   

adj.疯狂的；拥有的，占有的

参考例句：

• He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
• He behaved like someone possessed.他行为举止像是魔怔了。

322 crucible   

n.坩锅，严酷的考验

参考例句：

• The alliance had been forged in the crucible of war.这个联盟经受了战争的严峻考验。
• Put the required amount of metal into the crucible.把适量的金属放入坩埚。

323 considerably   

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。

324 unfamiliar   

adj.陌生的，不熟悉的

参考例句：

• I am unfamiliar with the place and the people here.我在这儿人地生疏。
• The man seemed unfamiliar to me.这人很面生。

325 intensified   

v.（使）增强， （使）加剧( intensify的过去式和过去分词 )

参考例句：

• Violence intensified during the night. 在夜间暴力活动加剧了。
• The drought has intensified. 旱情加剧了。 来自《简明英汉词典》

326 sanity   

n.心智健全，神智正常，判断正确

参考例句：

• I doubt the sanity of such a plan.我怀疑这个计划是否明智。
• She managed to keep her sanity throughout the ordeal.在那场磨难中她始终保持神志正常。

327 intimacies   

亲密( intimacy的名词复数 )； 密切； 亲昵的言行； 性行为

参考例句：

• He is exchanging intimacies with his friends. 他正在和密友们亲切地交谈。
• The stiffness of the meeting soon gave way before their popular manners and more diffused intimacies. 他们的洒脱不羁和亲密气氛的增加很快驱散了会场上的拘谨。

328 penetrating   

adj.（声音）响亮的，尖锐的adj.（气味）刺激的adj.（思想）敏锐的，有洞察力的

参考例句：

• He had an extraordinarily penetrating gaze. 他的目光有股异乎寻常的洞察力。
• He examined the man with a penetrating gaze. 他以锐利的目光仔细观察了那个人。

329 longing   

n.（for）渴望

参考例句：

• Hearing the tune again sent waves of longing through her.再次听到那首曲子使她胸中充满了渴望。
• His heart burned with longing for revenge.他心中燃烧着急欲复仇的怒火。

330 desecrated   

毁坏或亵渎( desecrate的过去式和过去分词 )

参考例句：

• The invading army desecrated this holy place when they camped here. 侵略军在这块圣地上扎营就是对这块圣地的亵渎。
• She shouldn't have desecrated the picture of a religious leader. 她不该亵渎宗教领袖的画像。

331 violation   

n.违反(行为)，违背(行为)，侵犯

参考例句：

• He roared that was a violation of the rules.他大声说，那是违反规则的。
• He was fined 200 dollars for violation of traffic regulation.他因违反交通规则被罚款200美元。

332 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：

• He emptied his glass at one draught.他将杯中物一饮而尽。
• It's a pity the room has no north window and you don't get a draught.可惜这房间没北窗，没有过堂风。

333 repercussion   

n.[常pl.](不良的)影响，反响，后果

参考例句：

• After being put out,service has received very good market repercussion.服务推出后收到了非常好的市场反响。
• The president's death had unexpected repercussion.总统的逝世引起出乎意料的反响。

334 anvil   

n.铁钻

参考例句：

• The blacksmith shaped a horseshoe on his anvil.铁匠在他的铁砧上打出一个马蹄形。
• The anvil onto which the staples are pressed was not assemble correctly.订书机上的铁砧安装错位。

335 rosy   

adj.美好的，乐观的，玫瑰色的

参考例句：

• She got a new job and her life looks rosy.她找到一份新工作，生活看上去很美好。
• She always takes a rosy view of life.她总是对生活持乐观态度。

336 fretted   

焦躁的，附有弦马的，腐蚀的

参考例句：

• The wind whistled through the twigs and fretted the occasional, dirty-looking crocuses. 寒风穿过枯枝，有时把发脏的藏红花吹刮跑了。 来自英汉文学
• The lady's fame for hitting the mark fretted him. 这位太太看问题深刻的名声在折磨着他。

337 tragically   

adv. 悲剧地，悲惨地

参考例句：

• Their daughter was tragically killed in a road accident. 他们的女儿不幸死于车祸。
• Her father died tragically in a car crash. 她父亲在一场车祸中惨死。

338 wither   

vt.使凋谢，使衰退，(用眼神气势等)使畏缩；vi.枯萎，衰退，消亡

参考例句：

• She grows as a flower does-she will wither without sun.她象鲜花一样成长--没有太阳就会凋谢。
• In autumn the leaves wither and fall off the trees.秋天，树叶枯萎并从树上落下来。

339 colonnades   

n.石柱廊( colonnade的名词复数 )

参考例句：

340 volcanic   

adj.火山的；象火山的；由火山引起的

参考例句：

• There have been several volcanic eruptions this year.今年火山爆发了好几次。
• Volcanic activity has created thermal springs and boiling mud pools.火山活动产生了温泉和沸腾的泥浆池。

341 admiration   

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。

342 fumble   

vi.笨拙地用手摸、弄、接等，摸索

参考例句：

• His awkwardness made him fumble with the key.由于尴尬不安，他拿钥匙开锁时显得笨手笨脚。
• He fumbled his one-handed attempt to light his cigarette.他笨拙地想用一只手点燃香烟。

343 exhausted   

adj.极其疲惫的，精疲力尽的

参考例句：

• It was a long haul home and we arrived exhausted.搬运回家的这段路程特别长，到家时我们已筋疲力尽。
• Jenny was exhausted by the hustle of city life.珍妮被城市生活的忙乱弄得筋疲力尽。

344 superstitions   

迷信，迷信行为( superstition的名词复数 )

参考例句：

• Old superstitions seem incredible to educated people. 旧的迷信对于受过教育的人来说是不可思议的。
• Do away with all fetishes and superstitions. 破除一切盲目崇拜和迷信。

345 supervision   

n.监督，管理

参考例句：

• The work was done under my supervision.这项工作是在我的监督之下完成的。
• The old man's will was executed under the personal supervision of the lawyer.老人的遗嘱是在律师的亲自监督下执行的。

346 delusion   

n.谬见，欺骗，幻觉，迷惑

参考例句：

• He is under the delusion that he is Napoleon.他患了妄想症，认为自己是拿破仑。
• I was under the delusion that he intended to marry me.我误认为他要娶我。

347 rococo   

n.洛可可；adj.过分修饰的

参考例句：

• She had a passion for Italian rococo.他热衷与意大利的洛可可艺术风格。
• Rococo art portrayed a world of artificiality,make-believe,and game-playing.洛可可艺术描绘出一个人工的、假装的和玩乐性的世界。

348 hereditarily   

世袭地，遗传地

参考例句：

• The De Courcy's were hereditarily shortsighted. 德库西家的人祖传下来全是近视眼。
• Moreover an analogous result of hereditarily normal weakly submetacompact is obtained. 进一步还得到了遗传正规的遗传弱次亚紧性的类似结果。

349 tainted   

adj.腐坏的；污染的；沾污的；感染的v.使变质( taint的过去式和过去分词 )；使污染；败坏；被污染，腐坏，败坏

参考例句：

• The administration was tainted with scandal. 丑闻使得政府声名狼藉。
• He was considered tainted by association with the corrupt regime. 他因与腐败政府有牵连而名誉受损。 来自《简明英汉词典》

350 candidly   

adv.坦率地，直率而诚恳地

参考例句：

• He has stopped taking heroin now,but admits candidly that he will always be a drug addict.他眼下已经不再吸食海洛因了,不过他坦言自己永远都是个瘾君子。
• Candidly,David,I think you're being unreasonable.大卫，说实话我认为你不讲道理。

351 dreary   

adj.令人沮丧的，沉闷的，单调乏味的

参考例句：

• They live such dreary lives.他们的生活如此乏味。
• She was tired of hearing the same dreary tale of drunkenness and violence.她听够了那些关于酗酒和暴力的乏味故事。

352 shimmers   

n.闪闪发光，发微光( shimmer的名词复数 )v.闪闪发光，发微光( shimmer的第三人称单数 )

参考例句：

• The hot pavement sent up shimmers. 晒热的道路浮起热气晃动的景象。 来自辞典例句
• Sunlight shimmers on the waters of the bay. 阳光在海湾的水面上闪烁。 来自辞典例句

353 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：

• Much reading has impaired his vision. 大量读书损害了他的视力。 来自《现代汉英综合大词典》
• His hearing is somewhat impaired. 他的听觉已受到一定程度的损害。 来自《现代汉英综合大词典》

354 cleaving   

v.劈开，剁开，割开( cleave的现在分词 )

参考例句：

• The freighter carrying pig iron is cleaving through the water. 装着生铁的货船正在破浪前进。 来自辞典例句
• IL-10-cDNA fragment was obtained through cleaving pUC-T-IL-10cDNA by reconstriction enzymes. 结果：pcDNA3.1-IL-10酶切鉴定的电泳结果显示，pcDNA3.1-IL-10质粒有一个560bp左右的插入片断，大小和IL-10cDNA大致符合。 来自互联网

355 extorted   

v.敲诈( extort的过去式和过去分词 )；曲解

参考例句：

• The gang extorted money from over 30 local businesses. 这帮歹徒向当地30多户商家勒索过钱财。
• He extorted a promise from me. 他硬要我答应。 来自《现代英汉综合大词典》

356 undoubtedly   

adv.确实地，无疑地

参考例句：

• It is undoubtedly she who has said that.这话明明是她说的。
• He is undoubtedly the pride of China.毫无疑问他是中国的骄傲。

357 bribed   

v.贿赂( bribe的过去式和过去分词 )；向（某人）行贿，贿赂

参考例句：

• They bribed him with costly presents. 他们用贵重的礼物贿赂他。 来自《现代汉英综合大词典》
• He bribed himself onto the committee. 他暗通关节，钻营投机挤进了委员会。 来自《现代汉英综合大词典》

358 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：

• He is said to be the most passionate man.据说他是最有激情的人。
• He is very passionate about the project.他对那个项目非常热心。

359 odious   

adj.可憎的，讨厌的

参考例句：

• The judge described the crime as odious.法官称这一罪行令人发指。
• His character could best be described as odious.他的人格用可憎来形容最贴切。

360 supremacy   

n.至上；至高权力

参考例句：

• No one could challenge her supremacy in gymnastics.她是最优秀的体操运动员，无人能胜过她。
• Theoretically,she holds supremacy as the head of the state.从理论上说，她作为国家的最高元首拥有至高无上的权力。

361 insolence   

n.傲慢；无礼；厚颜；傲慢的态度

参考例句：

• I've had enough of your insolence, and I'm having no more. 我受够了你的侮辱，不能再容忍了。 来自《现代汉英综合大词典》
• How can you suffer such insolence? 你怎么能容忍这种蛮横的态度？ 来自《简明英汉词典》

362 edifying   

adj.有教训意味的，教训性的，有益的v.开导，启发( edify的现在分词 )

参考例句：

• Young students are advised to read edifying books to improve their mind. 建议青年学生们读一些陶冶性情的书籍，以提高自己的心智。 来自辞典例句
• This edifying spectacle was the final event of the Governor's ball. 这个有启发性的表演便是省长的舞会的最后一个节目了。 来自辞典例句

363 remains   

n.剩余物，残留物；遗体，遗迹

参考例句：

• He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
• The remains of the meal were fed to the dog.残羹剩饭喂狗了。

364 warrior   

n.勇士，武士，斗士

参考例句：

• The young man is a bold warrior.这个年轻人是个很英勇的武士。
• A true warrior values glory and honor above life.一个真正的勇士珍视荣誉胜过生命。

365 virtuoso   

n.精于某种艺术或乐器的专家，行家里手

参考例句：

• He was gaining a reputation as a remarkable virtuoso.作为一位技艺非凡的大师，他声誉日隆。
• His father was a virtuoso horn player who belonged to the court orchestra.他的父亲是宫廷乐队中一个技巧精湛的圆号演奏家。

366 renaissance   

n.复活，复兴，文艺复兴

参考例句：

• The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
• The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。

367 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

• We should take some time to enjoy the sublime beauty of nature.我们应该花些时间去欣赏大自然的壮丽景象。
• Olympic games play as an important arena to exhibit the sublime idea.奥运会，就是展示此崇高理念的重要舞台。

368 bruised   

[医]青肿的，瘀紫的

参考例句：

• his bruised and bloodied nose 他沾满血的青肿的鼻子
• She had slipped and badly bruised her face. 她滑了一跤，摔得鼻青脸肿。

369 vexed   

adj.争论不休的；（指问题等）棘手的；争论不休的问题；烦恼的v.使烦恼( vex的过去式和过去分词 )；使苦恼；使生气；详细讨论

参考例句：

• The conference spent days discussing the vexed question of border controls. 会议花了几天的时间讨论边境关卡这个难题。
• He was vexed at his failure. 他因失败而懊恼。 来自《现代汉英综合大词典》

370 dominion   

n.统治，管辖，支配权；领土，版图

参考例句：

• Alexander held dominion over a vast area.亚历山大曾统治过辽阔的地域。
• In the affluent society,the authorities are hardly forced to justify their dominion.在富裕社会里，当局几乎无需证明其统治之合理。

371 apex   

n.顶点，最高点

参考例句：

• He reached the apex of power in the early 1930s.他在三十年代初达到了权力的顶峰。
• His election to the presidency was the apex of his career.当选总统是他一生事业的顶峰。

372 clearance   

n.净空；许可(证)；清算；清除，清理

参考例句：

• There was a clearance of only ten centimetres between the two walls.两堵墙之间只有十厘米的空隙。
• The ship sailed as soon as it got clearance. 那艘船一办好离港手续立刻启航了。

373 grotesquely   

adv. 奇异地,荒诞地

参考例句：

• Her arched eyebrows and grotesquely powdered face were at once seductive and grimly overbearing. 眉棱棱着，在一脸的怪粉上显出妖媚而霸道。 来自汉英文学 - 骆驼祥子
• Two faces grotesquely disfigured in nylon stocking masks looked through the window. 2张戴尼龙长袜面罩的怪脸望着窗外。

374 bulwark   

n.堡垒，保障，防御

参考例句：

• That country is a bulwark of freedom.那个国家是自由的堡垒。
• Law and morality are the bulwark of society.法律和道德是社会的防御工具。

375 incessant   

adj.不停的，连续的

参考例句：

• We have had incessant snowfall since yesterday afternoon.从昨天下午开始就持续不断地下雪。
• She is tired of his incessant demands for affection.她厌倦了他对感情的不断索取。

376 copiously   

adv.丰富地，充裕地

参考例句：

• She leant forward and vomited copiously on the floor. 她向前一俯，哇的一声吐了一地。 来自英汉文学
• This well-organized, unified course copiously illustrated, amply cross-referenced, and fully indexed. 这条组织完善，统一的课程丰富地被说明，丰富地被相互参照和充分地被标注。 来自互联网

377 implement   

n.(pl.)工具，器具；vt.实行，实施，执行

参考例句：

• Don't undertake a project unless you can implement it.不要承担一项计划，除非你能完成这项计划。
• The best implement for digging a garden is a spade.在花园里挖土的最好工具是铁锹。

378 premises   

n.建筑物，房屋

参考例句：

• According to the rules,no alcohol can be consumed on the premises.按照规定，场内不准饮酒。
• All repairs are done on the premises and not put out.全部修缮都在家里进行，不用送到外面去做。

379 exponents   

n.倡导者( exponent的名词复数 )；说明者；指数；能手

参考例句：

• Its tendency to archaic language was tempered by the indolence of its exponents. 它的应用古语的趋势却被用语者的懒散所冲淡。 来自辞典例句
• The exponents of this trend are trying to lead us towards capitalism. 这股思潮的代表人物是要把我们引导到资本主义方向上去。 来自互联网

380 climax   

n.顶点；高潮；v.(使)达到顶点

参考例句：

• The fifth scene was the climax of the play.第五场是全剧的高潮。
• His quarrel with his father brought matters to a climax.他与他父亲的争吵使得事态发展到了顶点。

381 dilemma   

n.困境，进退两难的局面

参考例句：

• I am on the horns of a dilemma about the matter.这件事使我进退两难。
• He was thrown into a dilemma.他陷入困境。

382 lavished   

v.过分给予，滥施( lavish的过去式和过去分词 )

参考例句：

• I lavished all the warmth of my pent-up passion. 我把憋在心里那一股热烈的情感尽量地倾吐出来。 来自辞典例句
• An enormous amount of attention has been lavished on these problems. 在这些问题上，我们已经花费了大量的注意力。 来自辞典例句

383 traitor   

n.叛徒，卖国贼

参考例句：

• The traitor was finally found out and put in prison.那个卖国贼终于被人发现并被监禁了起来。
• He was sold out by a traitor and arrested.他被叛徒出卖而被捕了。

384 demonstration   

n.表明，示范，论证，示威

参考例句：

• His new book is a demonstration of his patriotism.他写的新书是他的爱国精神的证明。
• He gave a demonstration of the new technique then and there.他当场表演了这种新的操作方法。

385 thereby   

adv.因此，从而

参考例句：

• I have never been to that city,,ereby I don't know much about it.我从未去过那座城市，因此对它不怎么熟悉。
• He became a British citizen,thereby gaining the right to vote.他成了英国公民，因而得到了投票权。

386 pretension   

n.要求；自命，自称；自负

参考例句：

• I make no pretension to skill as an artist,but I enjoy painting.我并不自命有画家的技巧，但我喜欢绘画。
• His action is a satire on his boastful pretension.他的行动是对他自我卖弄的一个讽刺。

387 amenity   

n.pl.生活福利设施，文娱康乐场所；（不可数）愉快，适意

参考例句：

• The amenity of his manners won him many friends.他和悦的态度替他赢得很多朋友。
• Teachers' good amenity and culture have important educational value.教师良好的礼仪修养具有重要的教育价值。

388 wreck   

n.失事，遇难；沉船；vt.(船等)失事，遇难

参考例句：

• Weather may have been a factor in the wreck.天气可能是造成这次失事的原因之一。
• No one can wreck the friendship between us.没有人能够破坏我们之间的友谊。

389 bankruptcy   

n.破产；无偿付能力

参考例句：

• You will have to pull in if you want to escape bankruptcy.如果你想避免破产，就必须节省开支。
• His firm is just on thin ice of bankruptcy.他的商号正面临破产的危险。

390 Founder   

n.创始者，缔造者

参考例句：

• He was extolled as the founder of their Florentine school.他被称颂为佛罗伦萨画派的鼻祖。
• According to the old tradition,Romulus was the founder of Rome.按照古老的传说，罗穆卢斯是古罗马的建国者。

391 allots   

分配，拨给，摊派( allot的第三人称单数 )

参考例句：

• My days are as happy as those God allots to his saints. 我的日子过得像上帝分配给圣徒的一样快乐。
• In this paper, a combination method that allots multi-objective weights is proposed. 多目标评价中的一个重要因素是考虑目标权系数的选取。

392 depicting   

描绘，描画( depict的现在分词 )； 描述

参考例句：

• a painting depicting the Virgin and Child 一幅描绘童贞马利亚和圣子耶稣的画
• The movie depicting the battles and bloodshed is bound to strike home. 这部描写战斗和流血牺牲的影片一定会取得预期效果。

393 congruity   

n.全等，一致

参考例句：

• Congruity is the mother of love.和谐是爱情之母。
• There is a definite congruity in the candidates' approach to the tax problem.候选人在对待税收问题的态度上有着明确的共同之处。

394 collapse   

vi.累倒；昏倒；倒塌；塌陷

参考例句：

• The country's economy is on the verge of collapse.国家的经济已到了崩溃的边缘。
• The engineer made a complete diagnosis of the bridge's collapse.工程师对桥的倒塌做了一次彻底的调查分析。

395 collapses   

折叠( collapse的第三人称单数 )； 倒塌； 崩溃； （尤指工作劳累后）坐下

参考例句：

• This bridge table collapses. 这张桥牌桌子能折叠。
• Once Russia collapses, the last chance to stop Hitler will be gone. 一旦俄国垮台，抑止希特勒的最后机会就没有了。

396 disorder   

n.紊乱，混乱；骚动，骚乱；疾病，失调

参考例句：

• When returning back,he discovered the room to be in disorder.回家后，他发现屋子里乱七八糟。
• It contained a vast number of letters in great disorder.里面七零八落地装着许多信件。

397 promising   

adj.有希望的，有前途的

参考例句：

• The results of the experiments are very promising.实验的结果充满了希望。
• We're trying to bring along one or two promising young swimmers.我们正设法培养出一两名有前途的年轻游泳选手。

398 justify   

vt.证明…正当(或有理)，为…辩护

参考例句：

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

399 extravagantly   

adv.挥霍无度地

参考例句：

• The Monroes continued to entertain extravagantly. 门罗一家继续大宴宾客。 来自辞典例句
• New Grange is one of the most extravagantly decorated prehistoric tombs. 新格兰奇是装饰最豪华的史前陵墓之一。 来自辞典例句

400 corrupt   

v.贿赂，收买；adj.腐败的，贪污的

参考例句：

• The newspaper alleged the mayor's corrupt practices.那家报纸断言市长有舞弊行为。
• This judge is corrupt.这个法官贪污。

401 corruption   

n.腐败，堕落，贪污

参考例句：

• The people asked the government to hit out against corruption and theft.人民要求政府严惩贪污盗窃。
• The old man reviled against corruption.那老人痛斥了贪污舞弊。

402 ravage   

vt.使...荒废，破坏...；n.破坏，掠夺，荒废

参考例句：

• Just in time to watch a plague ravage his village.恰好目睹了瘟疫毁灭了他的村庄。
• For two decades the country has been ravaged by civil war and foreign intervention.20年来，这个国家一直被内战外侵所蹂躏。

403 semblance   

n.外貌，外表

参考例句：

• Her semblance of anger frightened the children.她生气的样子使孩子们感到害怕。
• Those clouds have the semblance of a large head.那些云的形状像一个巨大的人头。

404 disorders   

n.混乱( disorder的名词复数 )；凌乱；骚乱；（身心、机能）失调

参考例句：

• Reports of anorexia and other eating disorders are on the increase. 据报告，厌食症和其他饮食方面的功能紊乱发生率正在不断增长。 来自《简明英汉词典》
• The announcement led to violent civil disorders. 这项宣布引起剧烈的骚乱。 来自《简明英汉词典》

405 accomplishments   

n.造诣；完成( accomplishment的名词复数 )；技能；成绩；成就

参考例句：

• It was one of the President's greatest accomplishments. 那是总统最伟大的成就之一。
• Among her accomplishments were sewing,cooking,playing the piano and dancing. 她的才能包括缝纫、烹调、弹钢琴和跳舞。 来自《现代英汉综合大词典》

406 elevation   

n.高度；海拔；高地；上升；提高

参考例句：

• The house is at an elevation of 2,000 metres.那幢房子位于海拔两千米的高处。
• His elevation to the position of General Manager was announced yesterday.昨天宣布他晋升总经理职位。

407 impute   

v.归咎于

参考例句：

• I impute his failure to laziness.我把他的失败归咎于他的懒惰。
• It is grossly unfair to impute blame to the United Nations.把责任归咎于联合国极其不公。

408 apparently   

adv.显然地；表面上，似乎

参考例句：

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

409 pathos   

n.哀婉，悲怆

参考例句：

• The pathos of the situation brought tears to our eyes.情况令人怜悯，看得我们不禁流泪。
• There is abundant pathos in her words.她的话里富有动人哀怜的力量。

410 exquisitely   

adv.精致地；强烈地；剧烈地；异常地

参考例句：

• He found her exquisitely beautiful. 他觉得她异常美丽。 来自《简明英汉词典》
• He wore an exquisitely tailored gray silk and accessories to match. 他穿的是做工非常考究的灰色绸缎衣服，还有各种配得很协调的装饰。 来自教父部分

411 tilt   

v.(使)倾侧；(使)倾斜；n.倾侧；倾斜

参考例句：

• She wore her hat at a tilt over her left eye.她歪戴着帽子遮住左眼。
• The table is at a slight tilt.这张桌子没放平，有点儿歪.

412 repented   

对（自己的所为）感到懊悔或忏悔( repent的过去式和过去分词 )

参考例句：

• He repented his thoughtlessness. 他后悔自己的轻率。
• Darren repented having shot the bird. 达伦后悔射杀了那只鸟。

413 attenuation   

n.变薄；弄细；稀薄化；减少

参考例句：

• The attenuation distance and transmittance are connected together, they influence each other. 衰减距离attenuation)和能见度(transmittance)是联系在一起的，并相互影响。 来自互联网
• Attenuation of light is in the form of absorption. 光是以吸收的形式衰减。 来自辞典例句

414 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

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

415 grotesqueness   

参考例句：

416 depicted   

描绘，描画( depict的过去式和过去分词 )； 描述

参考例句：

• Other animals were depicted on the periphery of the group. 其他动物在群像的外围加以修饰。
• They depicted the thrilling situation to us in great detail. 他们向我们详细地描述了那激动人心的场面。

417 sanest   

adj.心智健全的( sane的最高级 )；神志正常的；明智的；稳健的

参考例句：

• Midsize sedans are clearly the sanest choice in this increasingly insane world. 中型轿车显然是这个越来越疯狂的世界中最理性的选择。 来自互联网

418 scant   

adj.不充分的，不足的；v.减缩，限制，忽略

参考例句：

• Don't scant the butter when you make a cake.做糕饼时不要吝惜奶油。
• Many mothers pay scant attention to their own needs when their children are small.孩子们小的时候，许多母亲都忽视自己的需求。

419 reigns   

n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期

参考例句：

• In these valleys night reigns. 夜色笼罩着那些山谷。 来自《现代汉英综合大词典》
• The Queen of Britain reigns, but she does not rule or govern. 英国女王是国家元首，但不治国事。 来自辞典例句

420 congruities   

n.适合，一致( congruity的名词复数 )；全等

参考例句：

421 embroidered   

adj．绣花的

参考例句：

• She embroidered flowers on the cushion covers. 她在这些靠垫套上绣了花。
• She embroidered flowers on the front of the dress. 她在连衣裙的正面绣花。

422 rapacious   

adj.贪婪的，强夺的

参考例句：

• He had a rapacious appetite for bird's nest soup.他吃燕窝汤吃个没够。
• Rapacious soldiers looted the houses in the defeated city.贪婪的士兵洗劫了被打败的城市。

423 suspense   

n.（对可能发生的事）紧张感，担心，挂虑

参考例句：

• The suspense was unbearable.这样提心吊胆的状况实在叫人受不了。
• The director used ingenious devices to keep the audience in suspense.导演用巧妙手法引起观众的悬念。

424 specious   

adj.似是而非的；adv.似是而非地

参考例句：

• Such talk is actually specious and groundless.这些话实际上毫无根据，似是而非的。
• It is unlikely that the Duke was convinced by such specious arguments.公爵不太可能相信这种似是而非的论点。

425 disintegrated   

v.（使）破裂[分裂，粉碎]，（使）崩溃( disintegrate的过去式和过去分词 )

参考例句：

• The plane disintegrated as it fell into the sea. 飞机坠入大海时解体了。
• The box was so old;it just disintegrated when I picked it up. 那箱子太破旧了，我刚一提就散了。 来自《简明英汉词典》

426 justifying   

证明…有理( justify的现在分词 )； 为…辩护； 对…作出解释； 为…辩解（或辩护）

参考例句：

• He admitted it without justifying it. 他不加辩解地承认这个想法。
• The fellow-travellers'service usually consisted of justifying all the tergiversations of Soviet intenal and foreign policy. 同路人的服务通常包括对苏联国内外政策中一切互相矛盾之处进行辩护。

427 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

428 precipitates   

v.（突如其来地）使发生( precipitate的第三人称单数 )；促成；猛然摔下；使沉淀

参考例句：

• Water precipitates camphor from its alcoholic solution. 水能把樟脑从其酒精溶液中淀析出来。 来自《简明英汉词典》
• Precipitates are usually collected by centrifugation at intervals. 常常是用离心法分段收集沉淀的。 来自辞典例句

429 robust   

adj.强壮的，强健的，粗野的，需要体力的，浓的

参考例句：

• She is too tall and robust.她个子太高，身体太壮。
• China wants to keep growth robust to reduce poverty and avoid job losses,AP commented.美联社评论道，中国希望保持经济强势增长，以减少贫困和失业状况。

430 sublimated   

v.（使某物质）升华( sublimate的过去式和过去分词 )；使净化；纯化

参考例句：

• Their affection to each other was sublimated into a lasting friendship. 他俩之间的感情被升华成一种永久的友谊。 来自互联网
• Finally migrates the utilization, sublimated to the text the understanding. 最后是迁移运用，升华对文本的理解。 来自互联网

431 justified   

a.正当的，有理的

参考例句：

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

432 illustrate   

v.举例说明，阐明；图解，加插图

参考例句：

• The company's bank statements illustrate its success.这家公司的银行报表说明了它的成功。
• This diagram will illustrate what I mean.这个图表可说明我的意思。

433 trophy   

n.优胜旗，奖品，奖杯，战胜品，纪念品

参考例句：

• The cup is a cherished trophy of the company.那只奖杯是该公司很珍惜的奖品。
• He hung the lion's head as a trophy.他把那狮子头挂起来作为狩猎纪念品。

434 portentous   

adj.不祥的，可怕的，装腔作势的

参考例句：

• The present aspect of society is portentous of great change.现在的社会预示着重大变革的发生。
• There was nothing portentous or solemn about him.He was bubbling with humour.他一点也不装腔作势或故作严肃，浑身散发着幽默。

435 primitive   

adj.原始的；简单的；n.原(始)人，原始事物

参考例句：

• It is a primitive instinct to flee a place of danger.逃离危险的地方是一种原始本能。
• His book describes the march of the civilization of a primitive society.他的著作描述了一个原始社会的开化过程。

436 civilisation   

n.文明，文化，开化，教化

参考例句：

• Energy and ideas are the twin bases of our civilisation.能源和思想是我们文明的两大基石。
• This opera is one of the cultural totems of Western civilisation.这部歌剧是西方文明的文化标志物之一。

437 artistically   

adv.艺术性地

参考例句：

• The book is beautifully printed and artistically bound. 这本书印刷精美，装帧高雅。
• The room is artistically decorated. 房间布置得很美观。

438 discredits   

使不相信( discredit的第三人称单数 )； 使怀疑； 败坏…的名声； 拒绝相信

参考例句：

• His theories met with general discredits. 他的理论遭到普遍怀疑。
• The man who discredits the supreme certainty of mathematics is feeding on confusion. 一个人如怀疑数学的极端可靠性就是陷入混乱。

439 poetically   

adv.有诗意地，用韵文

参考例句：

• Life is poetically compared to the morning dew. 在诗歌中，人生被比喻为朝露。 来自辞典例句
• Poetically, Midsummer's Eve begins in flowers and ends in fire. 仲夏节是富有诗意的节日，它以鲜花领航，在篝火旁完美落幕。 来自互联网

440 homely   

adj.家常的，简朴的；不漂亮的

参考例句：

• We had a homely meal of bread and cheese.我们吃了一顿面包加乳酪的家常便餐。
• Come and have a homely meal with us,will you?来和我们一起吃顿家常便饭，好吗？

441 obtruded   

v.强行向前，强行，强迫( obtrude的过去式和过去分词 )

参考例句：

• Music from the next room obtruded upon his thoughts. 隔壁的音乐声打扰了他的思绪。
• Not a leaf stirred; not a sound obtruded upon great Nature's meditation. 树叶儿一动也不动，没有任何声音打扰大自然的酣眠。 来自英汉文学 - 汤姆历险

442 appreciation   

n.评价；欣赏；感谢；领会，理解；价格上涨

参考例句：

• I would like to express my appreciation and thanks to you all.我想对你们所有人表达我的感激和谢意。
• I'll be sending them a donation in appreciation of their help.我将送给他们一笔捐款以感谢他们的帮助。

443 futility   

n.无用

参考例句：

• She could see the utter futility of trying to protest. 她明白抗议是完全无用的。
• The sheer futility of it all exasperates her. 它毫无用处，这让她很生气。

444 outfit   

n.（为特殊用途的）全套装备，全套服装

参考例句：

• Jenney bought a new outfit for her daughter's wedding.珍妮为参加女儿的婚礼买了一套新装。
• His father bought a ski outfit for him on his birthday.他父亲在他生日那天给他买了一套滑雪用具。

445 testimony   

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。