THE NEW NOVEL 1914

 We feel it not to be the paradox¹ it may at the first blush seem that the state of the novel in England at the present time is virtually very much the state of criticism itself; and this moreover, at the risk perhaps of some added appearance of perverse² remark, by the very reason that we see criticism so much in abeyance³. So far as we miss it altogether how and why does its “state” matter, and why and how can it or should it, as an absent force, enjoy a relation to that constant renewal⁴ of our supply of fiction which is a present one so far as a force at all? The relation is this, in the fewest words: that no equal outpouring of matter into the mould of literature, or what roughly passes for such, has been noted⁵ to live its life and maintain its flood, its level at least of quantity and mass, in such free and easy independence of critical attention. It constitutes a condition and a perversity⁶ on the part of this element to remain irresponsive before an appeal so vociferous⁷ at least and so incessant⁸; therefore how can such a neglect of occasions, so careless a habit in spite of marked openings, be better described than as responsibility declined in the face of disorder⁹? The disorder thus determines the relation, from the moment we feel that it might be less, that it might be different, that something in the way of an order even might be disengaged from it and replace it; from the moment in fact that the low critical pitch is logically reflected in the poetic¹² or, less pedantically¹³ speaking, the improvisational¹⁴ at large. The effect, if not the prime office, of criticism is to make our absorption and our enjoyment¹⁵ of the things that feed the mind as aware of itself as possible, since that awareness¹⁶ quickens the mental demand, which thus in turn wanders further and further for pasture. This action on the part of the mind practically amounts to a reaching out for the reasons of its interest, as only by its so ascertaining¹⁸ them can the interest grow more various. This is the very education of our imaginative life; and thanks to it the general question of how to refine, and of why certain things refine more and most, on that happy consciousness, becomes for us of the last importance. Then we cease to be only instinctive¹⁹ and at the mercy of chance, feeling that we can ourselves take a hand in our satisfaction and provide for it, making ourselves safe against dearth²⁰, and through the door opened by that perception criticism enters, if we but give it time, as a flood, the great flood of awareness; so maintaining its high tide unless through some lapse²¹ of our sense for it, some flat reversion to instinct alone, we block up the ingress and sit in stale and shrinking waters. Stupidity may arrest any current and fatuity²² transcend²³ any privilege. The comfort of those who at such a time consider the scene may be a little, with their curiosity still insistent²⁴, to survey its platitude²⁵ and record the exhibited shrinkage; which amounts to the attempt to understand how stupidity could so have prevailed. We take it here that the answer to that inquiry²⁶ can but be ever the same. The flood of “production” has so inordinately²⁸ exceeded the activity of control that this latter anxious agent, first alarmed but then indifferent, has been forced backward out of the gate, leaving the contents of the reservoir to boil and evaporate. It is verily on the wrong side of the gate that we just now seem to see criticism stand, for never was the reservoir so bubblingly and noisily full, at least by the superficial measure of life. We have caught the odd accident in the very fact of its occurrence; we have seen the torrent²⁹ swell³⁰ by extravagant³¹ cheap contribution, the huge increase of affluents³² turbid³³ and unstrained. Beyond number are the ways in which the democratic example, once gathering³⁴ momentum³⁵, sets its mark on societies and seasons that stand in its course. Nowhere is that example written larger, to our perception, than in “the new novel”; though this, we hasten to add, not in the least because prose fiction now occupies itself as never before with the “condition of the people,” a fact quite irrelevant³⁶ to the nature it has taken on, but because that nature amounts exactly to the complacent³⁷ declaration of a common literary level, a repudiation³⁸ the most operative even if the least reasoned of the idea of differences, the virtual law, as we may call it, of sorts and kinds, the values of individual quality and weight in the presence of undiscriminated quantity and rough-and-tumble “output”—these attestations made, we naturally mean, in the air of composition and on the esthetic⁴⁰ plane, if such terms have still an attenuated⁴¹ reference to the case before us. With which, if we be asked, in the light of that generalisation, whether we impute⁴² to the novel, or in other words the novelist, all the stupidity against which the spirit of appreciation⁴³ spends itself in vain, we reply perforce that we stop short of that, it being too obvious that of an exhibition so sterilised, so void of all force and suggestion, there would be nothing whatever to say. Our contention⁴⁴ is exactly that, in spite of all vain aspects, it does yet present an interest, and that here and there seem written on it likelihoods of its presenting still more—always on condition of its consenting to that more intimate education which is precisely⁴⁵ what democratised movements look most askance at. It strikes us as not too much to say that our actual view of the practice of fiction gives as just a measure as could be desired of the general, the incurable⁴⁶ democratic suspicion of the selective and comparative principles in almost any application, and the tendency therewith to regard, and above all to treat, one manner of book, like one manner of person, as, if not absolutely as good as another, yet good enough for any democratic use. Criticism reflects contentiously⁴⁷ on that appearance, though it be an appearance in which comfort for the book and the manner much resides; so that the idea prompting these remarks of our own is that the comfort may be deeply fallacious.

I

 

Still not to let go of our imputation⁴⁸ of interest to some part at least of what is happening in the world of production in this kind, we may say that non-selective and non-comparative practice appears bent⁴⁹ on showing us all it can do and how far or to what appointed shores, what waiting havens⁵¹ and inviting⁵² inlets, the current that is mainly made a current by looseness, by want of observable direction, shall succeed in carrying it. We respond to any sign of an intelligent view or even of a lively instinct—which is why we give the appearance so noted the benefit of every presumption⁵³ as to its life and health. It may be that the dim sense is livelier than the presentable reason, but even that is no graceless fact for us, especially when the keenness of young curiosity and energy is betrayed in its pace, and betrayed, for that matter, in no small abundance and variety. The new or at least the young novel is up and doing, clearly, with the best faith and the highest spirits in the world; if we but extend a little our measure of youth indeed, as we are happily more and more disposed to, we may speak of it as already chin-deep in trophies⁵⁵. The men who are not so young as the youngest were but the other day very little older than these: Mr. Joseph Conrad, Mr. Maurice Hewlett and Mr. Galsworthy, Mr. H. G. Wells and Mr. Arnold Bennett, have not quite perhaps the early bloom of Mr. Hugh Walpole, Mr. Gilbert Cannan, Mr. Compton Mackenzie and Mr. D. H. Lawrence, but the spring unrelaxed is still, to our perception, in their step, and we see two or three of them sufficiently⁵⁶ related to the still newer generation in a quasi-parental way to make our whole enumeration⁵⁷ as illustrational as we need it. Mr. Wells and Mr. Arnold Bennett have their strongest mark, the aspect by which we may most classify them, in common—even if their three named contemporaries are doubtless most interesting in one of the connections we are not now seeking to make. The author of “Tono-Bungay” and of “The New Machiavelli,” and the author of “The Old Wives’ Tale” and of “Clayhanger,” have practically launched the boat in which we admire the fresh play of oar⁵⁸ of the author of “The Duchess of Wrexe,” and the documented aspect exhibited successively by “Round the Corner,” by “Carnival” and “Sinister Street,” and even by “Sons and Lovers” (however much we may find Mr. Lawrence, we confess, hang in the dusty rear). We shall explain in a moment what we mean by this designation of the element that these best of the younger men strike us as more particularly sharing, our point being provisionally that Mr. Wells and Mr. Arnold Bennett (speaking now only of them) began some time back to show us, and to show sundry⁵⁹ emulous and generous young spirits then in the act of more or less waking up, what the state in question might amount to. We confound the author of “Tono-Bungay” and the author of “Clayhanger” in this imputation for the simple reason that with the sharpest differences of character and range they yet come together under our so convenient measure of value by saturation⁶⁰. This is the greatest value, to our sense, in either of them, their other values, even when at the highest, not being quite in proportion to it; and as to be saturated⁶¹ is to be documented, to be able even on occasion to prove quite enviably and potently⁶² so, they are alike in the authority that creates emulation⁶³. It little signifies that Mr. Wells’s documented or saturated state in respect to a particular matter in hand is but one of the faces of his generally informed condition, of his extraordinary mass of gathered and assimilated knowledge, a miscellaneous collection more remarkable⁶⁴ surely than any teller⁶⁵ of “mere⁶⁶” tales, with the possible exception of Balzac, has been able to draw upon, whereas Mr. Arnold Bennett’s corresponding provision affects us as, though singularly copious⁶⁷, special, exclusive and artfully economic. This distinction avails nothing against that happy fact of the handiest possession by Mr. Wells of immeasurably more concrete material, amenable⁶⁸ for straight and vivid reference, convertible⁶⁹ into apt illustration, than we should know where to look for other examples of. The author of “The New Machiavelli” knows, somehow, to our mystified and dazzled apprehension⁷⁰, because he writes and because that act constitutes for him the need, on occasion a most desperate, of absorbing knowledge at the pores; the chronicler of the Five Towns writing so much more discernibly, on the other hand, because he knows, and conscious of no need more desperate than that particular circle of civilisation⁷¹ may satisfy.

 

Our argument is that each is ideally immersed in his own body of reference, and that immersion⁷² in any such degree and to the effect of any such variety, intensity⁷³ and plausibility⁷⁴ is really among us a new feature of the novelist’s range of resource. We have seen him, we have even seen her, otherwise auspiciously⁷⁶ endowed, seen him observant, impassioned, inspired, and in virtue⁷⁷ of these things often very charming, very interesting, very triumphant⁷⁸, visibly qualified⁷⁹ for the highest distinction before the fact and visibly crowned by the same after it—we have seen him with a great imagination and a great sense of life, we have seen him even with a great sense of expression and a considerable sense of art: so that we have only to reascend the stream of our comparatively recent literature to meet him serene⁸⁰ and immortal⁸¹, brow-bound with the bay and erect⁸² on his particular pedestal. We have only to do that, but have only also, while we do it, to recognise that meantime other things still than these various apotheoses⁸³ have taken place, and that, to the increase of our recreation, and even if our limited space condemns⁸⁴ us to put the matter a trifle clumsily, a change has come over our general receptive sensibility not less than over our productive tradition. In these connections, we admit, overstatement is easy and over-emphasis tempting⁸⁵; we confess furthermore to a frank desire to enrich the case, the historic, with all the meaning we can stuff into it. So viewed accordingly it gives us the “new,” to repeat our expression, as an appetite for a closer notation⁸⁶, a sharper specification⁸⁷ of the signs of life, of consciousness, of the human scene and the human subject in general, than the three or four generations before us had been at all moved to insist on. They had insisted indeed, these generations, we see as we look back to them, on almost nothing whatever; what was to come to them had come, in enormous affluence⁸⁸ and freshness at its best, and to our continued appreciation as well as to the honour of their sweet susceptibility, because again and again the great miracle of genius took place, while they gaped⁸⁹, in their social and sentimental⁹⁰ sky. For ourselves that miracle has not been markedly renewed, but it has none the less happened that by hook and by crook⁹¹ the case for appreciation remains⁹² interesting. The great thing that saves it, under the drawback we have named, is, no doubt, that we have simply—always for appreciation—learned a little to insist, and that we thus get back on one hand something of what we have lost on the other. We are unable of course, with whatever habit of presumption engendered⁹³, to insist upon genius; so that who shall describe the measure of success we still achieve as not virtually the search for freshness, and above all for closeness, in quite a different direction? To this nearer view of commoner things Mr. Wells, say, and Mr. Arnold Bennett, and in their degree, under the infection communicated, Mr. D. H. Lawrence and Mr. Gilbert Cannan and Mr. Compton Mackenzie and Mr. Hugh Walpole, strike us as having all gathered themselves up with a movement never yet undertaken on our literary scene, and, beyond anything else, with an instinctive divination⁹⁴ of what had most waved their predecessors⁹⁵ off it. What had this lion in the path been, we make them out as after a fashion asking themselves, what had it been from far back and straight down through all the Victorian time, but the fond superstition⁹⁶ that the key of the situation, of each and every situation that could turn up for the novelist, was the sentimental key, which might fit into no door or window opening on closeness or on freshness at all? Was it not for all the world as if even the brightest practitioners⁹⁷ of the past, those we now distinguish as saved for glory in spite of themselves, had been as sentimental as they could, or, to give the trick another name, as romantic and thereby⁹⁸ as shamelessly “dodgy”?—just in order not to be close and fresh, not to be authentic⁹⁹, as that takes trouble, takes talent, and you can be sentimental, you can be romantic, you can be dodgy, alas¹⁰⁰, not a bit less on the footing of genius than on the footing of mediocrity or even of imbecility? Was it not as if the sentimental had been more and more noted as but another name for the romantic, if not indeed the romantic as but another name for the sentimental, and as if these things, whether separate or united, had been in the same degree recognised as unamenable, or at any rate unfavourable, to any consistent fineness of notation, once the tide of the copious as a condition of the thorough had fairly set in?

 

So, to express it briefly¹⁰¹, the possibility of hugging the shore of the real as it had not, among us, been hugged, and of pushing inland, as far as a keel might float, wherever the least opening seemed to smile, dawned upon a few votaries¹⁰² and gathered further confidence with exercise. Who could say, of course, that Jane Austen had not been close, just as who could ask if Anthony Trollope had not been copious?—just as who could not say that it all depended on what was meant by these terms? The demonstration¹⁰³ of what was meant, it presently appeared, could come but little by little, quite as if each tentative adventurer had rather anxiously to learn for himself what might be meant—this failing at least the leap into the arena¹⁰⁴ of some great demonstrative, some sudden athletic¹⁰⁵ and epoch-making authority. Who could pretend that Dickens was anything but romantic, and even more romantic in his humour, if possible, than in pathos¹⁰⁶ or in queer perfunctory practice of the “plot”? Who could pretend that Jane Austen didn’t leave much more untold¹⁰⁷ than told about the aspects and manners even of the confined circle in which her muse¹⁰⁸ revolved¹⁰⁹? Why shouldn’t it be argued against her that where her testimony¹¹⁰ complacently¹¹¹ ends the pressure of appetite within us presumes exactly to begin? Who could pretend that the reality of Trollope didn’t owe much of its abundance to the diluted¹¹², the quite extravagantly¹¹³ watered strain, no less than to the heavy hand, in which it continued to be ladled out? Who of the younger persuasion¹¹⁴ would not have been ready to cite, as one of the liveliest opportunities for the critic eager to see representation searching, such a claim for the close as Thackeray’s sighing and protesting “look-in” at the acquaintance between Arthur Pendennis and Fanny Bolton, the daughter of the Temple laundress, amid the purlieus of that settlement? The sentimental habit and the spirit of romance, it was unmistakably chargeable, stood out to sea as far as possible the moment the shore appeared to offer the least difficulty to hugging, and the Victorian age bristled¹¹⁵ with perfect occasions for our catching¹¹⁷ them in the act of this showy retreat. All revolutions have been prepared in spite of their often striking us as sudden, and so it was doubtless that when scarce longer ago than the other day Mr. Arnold Bennett had the fortune to lay his hand on a general scene and a cluster of agents deficient¹¹⁹ to a peculiar¹²⁰ degree in properties that might interfere¹²¹ with a desirable density¹²² of illustration—deficient, that is, in such connections as might carry the imagination off to some sport on its own account—we recognised at once a set of conditions auspicious⁷⁵ to the newer kind of appeal. Let us confess that we were at the same time doubtless to master no better way of describing these conditions than by the remark that they were, for some reason beautifully inherent in them, susceptible¹²³ at once of being entirely¹²⁴ known and of seeming detectably thick. Reduction to exploitable knowledge is apt to mean for many a case of the human complexity¹²⁵ reduction to comparative thinness; and nothing was thereby at the first blush to interest us more than the fact that the air and the very smell of packed actuality in the subject-matter of such things as the author’s two longest works was clearly but another name for his personal competence¹²⁶ in that matter, the fulness and firmness of his embrace of it. This was a fresh and beguiling¹²⁷ impression—that the state of inordinate²⁷ possession on the chronicler’s part, the mere state as such and as an energy directly displayed, was the interest, neither more nor less, was the sense and the meaning and the picture and the drama, all so sufficiently constituting them that it scarce mattered what they were in themselves. Of what they were in themselves their being in Mr. Bennett, as Mr. Bennett to such a tune¹¹⁸ harboured them, represented their one conceivable account—not to mention, as reinforcing this, our own great comfort and relief when certain high questions and wonderments about them, or about our mystified relation to them, began one after another to come up.

 

Because such questions did come, we must at once declare, and we are still in presence of them, for all the world as if that case of the perfect harmony, the harmony between subject and author, were just marked with a flaw and didn’t meet the whole assault of restless criticism. What we make out Mr. Bennett as doing is simply recording¹²⁸ his possession or, to put it more completely, his saturation; and to see him as virtually shut up to that process is a note of all the more moment that we see our selected cluster of his interesting juniors, and whether by his direct action on their collective impulse or not, embroiled¹²⁹, as we venture to call it, in the same predicament. The act of squeezing out to the utmost the plump and more or less juicy orange of a particular acquainted state and letting this affirmation of energy, however directed or undirected, constitute for them the “treatment” of a theme—that is what we remark them as mainly engaged in, after remarking the example so strikingly, so originally set, even if an undue¹³⁰ subjection to it be here and there repudiated¹³¹. Nothing is further from our thought than to undervalue saturation and possession, the fact of the particular experience, the state and degree of acquaintance incurred¹³², however such a consciousness may have been determined¹³³; for these things represent on the part of the novelist, as on the part of any painter of things seen, felt or imagined, just one half of his authority—the other half being represented of course by the application he is inspired to make of them. Therefore that fine secured half is so much gained at the start, and the fact of its brightly being there may really by itself project upon the course so much colour and form as to make us on occasion, under the genial¹³⁴ force, almost not miss the answer to the question of application. When the author of “Clayhanger” has put down upon the table, in dense¹³⁵ unconfused array, every fact required, every fact in any way invocable, to make the life of the Five Towns press upon us, and to make our sense of it, so full-fed, content us, we may very well go on for the time in the captive condition, the beguiled¹³⁶ and bemused condition, the acknowledgment of which is in general our highest tribute to the temporary master of our sensibility. Nothing at such moments—or rather at the end of them, when the end begins to threaten—may be of a more curious strain than the dawning unrest that suggests to us fairly our first critical comment: “Yes, yes—but is this all? These are the circumstances of the interest—we see, we see; but where is the interest itself, where and what is its centre, and how are we to measure it in relation to that?” Of course we may in the act of exhaling¹³⁷ that plaint (which we have just expressed at its mildest) well remember how many people there are to tell us that to “measure” an interest is none of our affair; that we have but to take it on the cheapest and easiest terms and be thankful; and that if by our very confession¹³⁸ we have been led the imaginative dance the music has done for us all it pretends to. Which words, however, have only to happen to be for us the most unintelligent conceivable not in the least to arrest our wonderment as to where our bedrenched consciousness may still not awkwardly leave us for the pleasure of appreciation. That appreciation is also a mistake and a priggishness, being reflective and thereby corrosive¹³⁹, is another of the fond dicta which we are here concerned but to brush aside—the more closely to embrace the welcome induction¹⁴⁰ that appreciation, attentive¹⁴¹ and reflective, inquisitive¹⁴² and conclusive¹⁴³, is in this connection absolutely the golden key to our pleasure. The more it plays up, the more we recognise and are able to number the sources of our enjoyment, the greater the provision made for security in that attitude, which corresponds, by the same stroke, with the reduced danger of waste in the undertaking¹⁴⁴ to amuse us. It all comes back to our amusement, and to the noblest surely, on the whole, we know; and it is in the very nature of clinging appreciation not to sacrifice consentingly a single shade of the art that makes for that blessing¹⁴⁵. From this solicitude¹⁴⁶ spring our questions, and not least the one to which we give ourselves for the moment here—this moment of our being regaled as never yet with the fruits of the movement (if the name be not of too pompous¹⁴⁷ an application where the flush and the heat of accident too seem so candidly¹⁴⁸ to look forth¹⁴⁹), in favour of the “expression of life” in terms as loose as may pretend to an effect of expression at all. The relegation¹⁵⁰ of terms to the limbo¹⁵¹ of delusions¹⁵² outlived so far as ever really cultivated becomes of necessity, it will be plain, the great mark of the faith that for the novelist to show he “knows all about” a certain congeries of aspects, the more numerous within their mixed circle the better, is thereby to set in motion, with due intensity, the pretension¹⁵³ to interest. The state of knowing all about whatever it may be has thus only to become consistently and abundantly active to pass for his supreme¹⁵⁴ function; and to its so becoming active few difficulties appear to be descried—so great may on occasion be the mere excitement of activity. To the fact that the exhilaration is, as we have hinted, often infectious, to this and to the charming young good faith and general acclamation under which each case appears to proceed—each case we of course mean really repaying attention—the critical reader owes his opportunity so considerably¹⁵⁶ and so gratefully to generalise.

II

 

We should have only to remount the current with a certain energy to come straight up against Tolstoy as the great illustrative master-hand on all this ground of the disconnection of method from matter—which encounter, however, would take us much too far, so that we must for the present but hang off from it with the remark that of all great painters of the social picture it was given that epic¹⁵⁷ genius most to serve admirably as a rash adventurer and a “caution,” and execrably, pestilentially, as a model. In this strange union of relations he stands alone: from no other great projector¹⁵⁸ of the human image and the human idea is so much truth to be extracted under an equal leakage¹⁶⁰ of its value. All the proportions in him are so much the largest that the drop of attention to our nearer cases might by its violence leave little of that principle alive; which fact need not disguise from us, none the less, that as Mr. H. G. Wells and Mr. Arnold Bennett, to return to them briefly again, derive¹⁶¹, by multiplied if diluted transmissions, from the great Russian (from whose all but equal companion Turgenieff we recognise no derivatives¹⁶² at all), so, observing the distances, we may profitably detect an unexhausted influence in our minor¹⁶⁴, our still considerably less rounded vessels¹⁶⁵. Highly attaching as indeed the game might be, of inquiring as to the centre of the interest or the sense of the whole in “The Passionate¹⁶⁷ Friends,” or in “The Old Wives’ Tale,” after having sought those luxuries in vain not only through the general length and breadth of “War and Peace,” but within the quite respectable confines of any one of the units of effect there clustered: this as preparing us to address a like friendly challenge to Mr. Cannan’s “Round the Corner,” say, or to Mr. Lawrence’s “Sons and Lovers”—should we wish to be very friendly to Mr. Lawrence—or to Mr. Hugh Walpole’s “Duchess of Wrexe,” or even to Mr. Compton Mackenzie’s “Sinister Street” and “Carnival,” discernibly, we hasten to add, though certain betrayals of a controlling idea and a pointed⁵⁰ intention do comparatively gleam out of the two fictions last named. “The Old Wives’ Tale” is the history of two sisters, daughters of a prosperous draper in a Staffordshire town, who, separating early in life, through the flight of one of them to Paris with an ill-chosen husband and the confirmed and prolonged local pitch of the career of the other, are reunited late in life by the return of the fugitive¹⁶⁸ after much Parisian experience and by her pacified¹⁶⁹ acceptance of the conditions of her birthplace. The divided current flows together again, and the chronicle closes with the simple drying up determined by the death of the sisters. That is all; the canvas is covered, ever so closely and vividly¹⁷⁰ covered, by the exhibition of innumerable small facts and aspects, at which we assist with the most comfortable sense of their substantial truth. The sisters, and more particularly the less adventurous¹⁷¹, are at home in their author’s mind, they sit and move at their ease in the square chamber¹⁷² of his attention, to a degree beyond which the production of that ideal harmony between creature and creator could scarcely go, and all by an art of demonstration so familiar and so “quiet” that the truth and the poetry, to use Goethe’s distinction, melt utterly¹⁷³ together and we see no difference between the subject of the show and the showman’s feeling, let alone the showman’s manner, about it. This felt identity of the elements—because we at least consciously feel—becomes in the novel we refer to, and not less in “Clayhanger,” which our words equally describe, a source for us of abject¹⁷⁴ confidence, confidence truly so abject in the solidity of every appearance that it may be said to represent our whole relation to the work and completely to exhaust our reaction upon it. “Clayhanger,” of the two fictions even the more densely¹⁷⁵ loaded with all the evidence in what we should call the case presented did we but learn meanwhile for what case, or for a case of what, to take it, inscribes¹⁷⁶ the annals, the private more particularly, of a provincial¹⁷⁷ printer in a considerable way of business, beginning with his early boyhood and going on to the complications of his maturity—these not exhausted¹⁶³ with our present possession of the record, inasmuch as by the author’s announcement there is more of the catalogue to come. This most monumental of Mr. Arnold Bennett’s recitals¹⁷⁸, taking it with its supplement of “Hilda Lessways,” already before us, is so describable through its being a monument exactly not to an idea, a pursued and captured meaning, or in short to anything whatever, but just simply of the quarried¹⁸⁰ and gathered material it happens to contain, the stones and bricks and rubble¹⁸¹ and cement and promiscuous¹⁸² constituents¹⁸³ of every sort that have been heaped in it and thanks to which it quite massively piles itself up. Our perusal¹⁸⁴ and our enjoyment are our watching of the growth of the pile and of the capacity, industry, energy with which the operation is directed. A huge and in its way a varied¹⁸⁵ aggregation¹⁸⁶, without traceable lines, divinable direction, effect of composition, the mere number of its pieces, the great dump of its material, together with the fact that here and there in the miscellany, as with the value of bits of marble or porphyry, fine elements shine out, it keeps us standing¹⁸⁷ and waiting to the end—and largely just because it keeps us wondering. We surely wonder more what it may all propose to mean than any equal appearance of preparation to relieve us of that strain, any so founded and grounded a postponement¹⁸⁸ of the disclosure of a sense in store, has for a long time called upon us to do in a like connection. A great thing it is assuredly that while we wait and wonder we are amused—were it not for that, truly, our situation would be thankless enough; we may ask ourselves, as has already been noted, why on such ambiguous terms we should consent to be, and why the practice doesn’t at a given moment break down; and our answer brings us back to that many-fingered grasp of the orange that the author squeezes. This particular orange is of the largest and most rotund, and his trust in the consequent flow is of its nature communicative. Such is the case always, and most naturally, with that air in a person who has something, who at the very least has much to tell us: we like so to be affected¹⁸⁹ by it, we meet it half way and lend ourselves, sinking in up to the chin. Up to the chin only indeed, beyond doubt; we even then feel our head emerge, for judgment¹⁹⁰ and articulate question, and it is from that position that we remind ourselves how the real reward of our patience is still to come—the reward attending not at all the immediate¹⁹¹ sense of immersion, but reserved for the after-sense, which is a very different matter, whether in the form of a glow or of a chill.

 

If Mr. Bennett’s tight rotundity then is of the handsomest size and his manipulation of it so firm, what are we to say of Mr. Wells’s, who, a novelist very much as Lord Bacon was a philosopher, affects us as taking all knowledge for his province and as inspiring in us to the very highest degree the confidence enjoyed by himself—enjoyed, we feel, with a breadth with which it has been given no one of his fellow-craftsmen to enjoy anything. If confidence alone could lead utterly captive we should all be huddled¹⁹² in a bunch at Mr. Wells’s heels—which is indeed where we are abjectly¹⁹³ gathered so far as that force does operate. It is literally¹⁹⁴ Mr. Wells’s own mind, and the experience of his own mind, incessant and extraordinarily¹⁹⁵ various, extraordinarily reflective, even with all sorts of conditions made, of whatever he may expose it to, that forms the reservoir tapped by him, that constitutes his provision of grounds of interest. It is, by our thinking, in his power to name to us, as a preliminary, more of these grounds than all his contemporaries put together, and even to exceed any competitor, without exception, in the way of suggesting that, thick as he may seem to lay them, they remain yet only contributive, are not in themselves full expression but are designed strictly¹⁹⁶ to subserve it, that this extraordinary writer’s spell resides. When full expression, the expression of some particular truth, seemed to lapse in this or that of his earlier novels (we speak not here of his shorter things, for the most part delightfully¹⁹⁸ wanton and exempt,) it was but by a hand’s breadth, so that if we didn’t inveterately¹⁹⁹ quite know what he intended we yet always felt sufficiently that he knew. The particular intentions of such matters as “Kipps,” as “Tono-Bungay,” as “Ann Veronica,” so swarmed²⁰⁰ about us, in their blinding, bluffing²⁰¹ vivacity²⁰³, that the mere sum of them might have been taken for a sense over and above which it was graceless to inquire. The more this author learns and learns, or at any rate knows and knows, however, the greater is this impression of his holding it good enough for us, such as we are, that he shall but turn out his mind and its contents upon us by any free familiar gesture and as from a high window forever open—an entertainment as copious surely as any occasion should demand, at least till we have more intelligibly²⁰⁴ expressed our title to a better. Such things as “The New Machiavelli,” “Marriage,” “The Passionate Friends,” are so very much more attestations of the presence of material than attestations of an interest in the use of it that we ask ourselves again and again why so fondly neglected a state of leakage comes not to be fatal to any provision of quantity, or even to stores more specially⁵⁴ selected for the ordeal²⁰⁵ than Mr. Wells’s always strike us as being. Is not the pang²⁰⁶ of witnessed waste in fact great just in proportion as we are touched by our author’s fine off-handedness as to the value of the stores, about which he can for the time make us believe what he will? so that, to take an example susceptible of brief statement, we wince²⁰⁷ at a certain quite peculiarly gratuitous²⁰⁸ sacrifice to the casual in “Marriage” very much as at seeing some fine and indispensable little part of a mechanism²⁰⁹ slip through profane²¹⁰ fingers and lose itself. Who does not remember what ensues after a little upon the aviational descent of the hero of the fiction just named into the garden occupied, in company with her parents, by the young lady with whom he is to fall in love?—and this even though the whole opening scene so constituted, with all the comedy hares its function appears to be to start, remains with its back squarely turned, esthetically speaking, to the quarter in which the picture develops. The point for our mortification²¹² is that by one of the first steps in this development, the first impression on him having been made, the hero accidentally meets the heroine, of a summer eventide, in a leafy lane which supplies them with the happiest occasion to pursue their acquaintance—or in other words supplies the author with the liveliest consciousness (as we at least feel it should have been) that just so the relation between the pair, its seed already sown and the fact of that bringing about all that is still to come, pushes aside whatever veil and steps forth into life. To show it step forth and affirm itself as a relation, what is this but the interesting function of the whole passage, on the performance of which what follows is to hang?—and yet who can say that when the ostensible²¹³ sequence is presented, and our young lady, encountered again by her stirred swain, under cover of night, in a favouring wood, is at once encompassed²¹⁴ by his arms and pressed to his lips and heart (for celebration thus of their third meeting) we do not assist at a well-nigh heartbreaking miscarriage²¹⁵ of “effect”? We see effect, invoked²¹⁶ in vain, simply stand off unconcerned; effect not having been at all consulted in advance she is not to be secured on such terms. And her presence would so have redounded—perfectly punctual creature as she is on a made appointment and a clear understanding—to the advantage of all concerned. The bearing of the young man’s act is all in our having begun to conceive it as possible, begun even to desire it, in the light of what has preceded; therefore if the participants have not been shown us as on the way to it, nor the question of it made beautifully to tremble for us in the air, its happiest connections fail and we but stare at it mystified. The instance is undoubtedly²¹⁸ trifling²¹⁹, but in the infinite complex of such things resides for a work of art the shy virtue, shy at least till wooed forth, of the whole susceptibility. The case of Mr. Wells might take us much further—such remarks as there would be to make, say, on such a question as the due understanding, on the part of “The Passionate Friends” (not as associated persons but as a composed picture), of what that composition is specifically about and where, for treatment of this interest, it undertakes to find its centre: all of which, we are willing however to grant, falls away before the large assurance and incorrigible²²⁰ levity²²¹ with which this adventurer carries his lapses—far more of an adventurer as he is than any other of the company. The composition, as we have called it, heaven saving the mark, is simply at any and every moment “about” Mr. Wells’s general adventure; which is quite enough while it preserves, as we trust it will long continue to do, its present robust²²² pitch.

 

We have already noted that “Round the Corner,” Mr. Gilbert Cannan’s liveliest appeal to our attention, belongs to the order of constatations pure and simple; to the degree that as a document of that nature and of that rigour the book could perhaps not more completely affirm itself. When we have said that it puts on record the “tone,” the manners, the general domestic proceedings²²³ and train de vie of an amiable²²⁴ clergyman’s family established in one of the more sordid²²⁵ quarters of a big black northern city of the Liverpool or Manchester complexion²²⁶ we have advanced as far in the way of descriptive statement as the interesting work seems to warrant. For it is interesting, in spite of its leaving itself on our hands with a consistent indifference²²⁷ to any question of the charmed application springing from it all that places it in the forefront of its type. Again as under the effect of Mr. Bennett’s major productions our sole inference is that things, the things disclosed, go on and on, in any given case, in spite of everything—with Mr. Cannan’s one discernible care perhaps being for how extraordinarily much, in the particular example here before him, they were able to go on in spite of. The conception, the presentation of this enormous inauspicious amount as bearing upon the collective career of the Folyats is, we think, as near as the author comes at any point to betraying an awareness of a subject. Yet again, though so little encouraged or “backed,” a subject after a fashion makes itself, even as it has made itself in “The Old Wives’ Tale” and in “Clayhanger,” in “Sons and Lovers,” where, as we have hinted, any assistance rendered us for a view of one most comfortably enjoys its absence, and in Mr. Hugh Walpole’s newest novel, where we wander scarcely less with our hand in no guiding grasp, but where the author’s good disposition²²⁸, as we feel it, to provide us with what we lack if he only knew how, constitutes in itself such a pleading liberality. We seem to see him in this spirit lay again and again a flowered carpet for our steps. If we do not include Mr. Compton Mackenzie to the same extent in our generalisation it is really because we note a difference in him, a difference in favour of his care for the application. Preoccupations seem at work in “Sinister Street,” and withal in “Carnival,” the brush of which we in other quarters scarce even suspect and at some of which it will presently be of profit to glance. “I answer for it, you know,” we seem at any rate to hear Mr. Gilbert Cannan say with an admirably genuine young pessimism²²⁹, “I answer for it that they were really like that, odd or unpleasant or uncontributive, and therefore tiresome²³⁰, as it may strike you;” and the charm of Mr. Cannan, so far as up or down the rank we so disengage a charm, is that we take him at his word. His guarantee, his straight communication, of his general truth is a value, and values are rare—the flood of fiction is apparently²³¹ capable of running hundreds of miles without a single glint of one—and thus in default of satisfaction we get stopgaps and are thankful often under a genial touch to get even so much. The value indeed is crude, it would be quadrupled were it only wrought²³² and shaped; yet it has still the rude dignity that it counts to us for experience or at least for what we call under our present pitch of sensibility force of impression. The experience, we feel, is ever something to conclude upon, while the impression is content to wait; to wait, say, in the spirit in which we must accept this younger bustle²³³ if we accept it at all, the spirit of its serving as a rather presumptuous²³⁴ lesson to us in patience. While we wait, again, we are amused—not in the least, also to repeat, up to the notch²³⁵ of our conception of amusement, which draws upon still other forms and sources; but none the less for the wonder, the intensity, the actuality, the probity²³⁶ of the vision. This is much as in “Clayhanger” and in “Hilda Lessways,” where, independently of the effect, so considerably rendered, of the long lapse of time, always in this type of recital¹⁷⁹ a source of amusement in itself, and certainly of the noblest, we get such an admirably substantial thing as the collective image of the Orgreaves, the local family in whose ample lap the amenities²³⁷ and the humanities so easily sit, for Mr. Bennett’s evocation²³⁸ and his protagonist²³⁹’s recognition, and the manner of the presentation of whom, with the function and relation of the picture at large, strikes such a note of felicity, achieves such a simulation of sense, as the author should never again be excused for treating, that is for neglecting, as beyond his range. Here figures signally the interesting case of a compositional function absolutely performed by mere multiplication²⁴⁰, the flow of the facts: the Orgreaves, in “Clayhanger,” are there, by what we make out, but for “life,” for general life only, and yet, with their office under any general or inferential meaning entirely unmarked, come doubtless as near squaring esthetically with the famous formula of the “slice of life” as any example that could be adduced; happening moreover as they probably do to owe this distinction to their coincidence at once with reality and charm—a fact esthetically curious and delightful¹⁹⁷. For we attribute the bold stroke they represent much more to Mr. Arnold Bennett’s esthetic instinct than to anything like a calculation of his bearings, and more to his thoroughly²⁴¹ acquainted state, as we may again put it, than to all other causes together: which strikingly enough shows how much complexity of interest may be simulated by mere presentation of material, mere squeezing of the orange, when the material happens to be “handsome” or the orange to be sweet.

III

 

The orange of our persistent²⁴² simile²⁴³ is in Mr. Hugh Walpole’s hands very remarkably²⁴⁴ sweet—a quality we recognise in it even while reduced to observing that the squeeze pure and simple, the fond, the lingering, the reiterated²⁴⁶ squeeze, constitutes as yet his main perception of method. He enjoys in a high degree the consciousness of saturation, and is on such serene and happy terms with it as almost make of critical interference, in so bright an air, an assault on personal felicity. Full of material is thus the author of “The Duchess of Wrexe,” and of a material which we should describe as the consciousness of youth were we not rather disposed to call it a peculiar strain of the extreme unconsciousness. Mr. Walpole offers us indeed a rare and interesting case—we see about the field none other like it; the case of a positive identity between the spirit, not to say the time of life or stage of experience, of the aspiring²⁴⁷ artist and the field itself of his vision. “The Duchess of Wrexe” reeks²⁴⁸ with youth and the love of youth and the confidence of youth—youth taking on with a charming exuberance²⁴⁹ the fondest costume or disguise, that of an adventurous and voracious²⁵⁰ felt interest, interest in life, in London, in society, in character, in Portland Place, in the Oxford²⁵¹ Circus, in the afternoon tea-table, in the torrid weather, in fifty other immediate things as to which its passion and its curiosity are of the sincerest. The wonderful thing is that these latter forces operate, in their way, without yet being disengaged and hand-free—disengaged, that is, from their state of being young, with its billowy mufflings and other soft obstructions²⁵², the state of being present, being involved and aware, close “up against” the whole mass of possibilities, being in short intoxicated²⁵³ with the mixed liquors of suggestion. In the fumes²⁵⁴ of this acute situation Mr. Walpole’s subject-matter is bathed; the situation being all the while so much more his own and that of a juvenility²⁵⁵ reacting, in the presence of everything, “for all it is worth,” than the devised and imagined one, however he may circle about some such cluster, that every cupful of his excited flow tastes three times as much of his temperamental freshness as it tastes of this, that or the other character or substance, above all of this, that or the other group of antecedents and references, supposed to be reflected in it. All of which does not mean, we hasten to add, that the author of “The Duchess of Wrexe” has not the gift of life; but only that he strikes us as having received it, straight from nature, with such a concussion²⁵⁶ as to have kept the boon²⁵⁷ at the stage of violence—so that, fairly pinned down by it, he is still embarrassed for passing it on. On the day he shall have worked free of this primitive²⁵⁸ predicament, the crude fact of the convulsion itself, there need be no doubt of his exhibiting matter into which method may learn how to bite. The tract¹⁵⁹ meanwhile affects us as more or less virgin²⁵⁹ snow, and we look with interest and suspense²⁶⁰ for the imprint²⁶¹ of a process.

 

If those remarks represent all the while, further, that the performances we have glanced at, with others besides, lead our attention on, we hear ourselves the more naturally asked what it is then that we expect or want, confessing as we do that we have been in a manner interested, even though, from case to case, in a varying degree, and that Thackeray, Turgenieff, Balzac, Dickens, Anatole France, no matter who, can not do more than interest. Let us therefore concede to the last point that small mercies are better than none, that there are latent within the critic numberless liabilities to being “squared” (the extent to which he may on occasion betray his price!) and so great a preference for being pleased over not being, that you may again and again see him assist with avidity at the attempt of the slice of life to butter itself thick. Its explanation that it is a slice of life and pretends to be nothing else figures for us, say, while we watch, the jam super-added to the butter. For since the jam, on this system, descends²⁶² upon our desert, in its form of manna, from quite another heaven than the heaven of method, the mere demonstration of its agreeable presence is alone sufficient to hint at our more than one chance of being supernaturally fed. The happy-go-lucky fashion of it is indeed not then, we grant, an objection so long as we do take in refreshment²⁶³: the meal may be of the last informality and yet produce in the event no small sense of repletion²⁶⁴. The slice of life devoured²⁶⁵, the butter and the jam duly appreciated, we are ready, no doubt, on another day, to trust ourselves afresh to the desert. We break camp, that is, and face toward a further stretch of it, all in the faith that we shall be once more provided for. We take the risk, we enjoy more or less the assistance—more or less, we put it, for the vision of a possible arrest of the miracle or failure of our supply never wholly leaves us. The phenomenon is too uncanny, the happy-go-lucky, as we know it in general, never has been trustable to the end; the absence of the last true touch in the preparation of its viands²⁶⁶ becomes with each renewal of the adventure a more sensible fact. By the last true touch we mean of course the touch of the hand of selection; the principle of selection having been involved at the worst or the least, one would suppose, in any approach whatever to the loaf of life with the arrière-pensée of a slice. There being no question of a slice upon which the further question of where and how to cut it does not wait, the office of method, the idea of choice and comparison, have occupied the ground from the first. This makes clear, to a moment’s reflection, that there can be no such thing as an amorphous²⁶⁷ slice, and that any waving aside of inquiry as to the sense and value of a chunk²⁶⁸ of matter has to reckon with the simple truth of its having been born of naught²⁶⁹ else but measured excision²⁷⁰. Reasons have been the fairies waiting on its cradle, the possible presence of a bad fairy in the form of a bad reason to the contrary notwithstanding. It has thus had connections at the very first stage of its detachment that are at no later stage logically to be repudiated; let it lie as lumpish as it will—for adoption²⁷¹, we mean, of the ideal of the lump—it has been tainted²⁷² from too far back with the hard liability to form, and thus carries in its very breast the hapless contradiction of its sturdy claim to have none. This claim has the inevitable²⁷³ challenge at once to meet. How can a slice of life be anything but illustrational of the loaf, and how can illustration not immediately bristle¹¹⁶ with every sign of the extracted and related state? The relation is at once to what the thing comes from and to what it waits upon—which last is our act of recognition. We accordingly appreciate it in proportion as it so accounts for itself; the quantity and the intensity of its reference are the measure of our knowledge of it. This is exactly why illustration breaks down when reference, otherwise application, runs short, and why before any assemblage of figures or aspects, otherwise of samples and specimens²⁷⁵, the question of what these are, extensively, samples and specimens of declines not to beset²⁷⁶ us—why, otherwise again, we look ever for the supreme reference that shall avert²⁷⁷ the bankruptcy²⁷⁸ of sense.

 

Let us profess²⁷⁹ all readiness to repeat that we may still have had, on the merest “life” system, or that of the starkest²⁸⁰ crudity²⁸¹ of the slice, all the entertainment that can come from watching a wayfarer²⁸² engage with assurance in an alley²⁸³ that we know to have no issue—and from watching for the very sake of the face that he may show us on reappearing at its mouth. The recitals of Mr. Arnold Bennett, Mr. Gilbert Cannan, Mr. D. H. Lawrence, fairly smell of the real, just as the “Fortitude” and “The Duchess” of Mr. Hugh Walpole smell of the romantic; we have sufficiently noted then that, once on the scent²¹¹, we are capable of pushing ahead. How far it is at the same time from being all a matter of smell the terms in which we just above glanced at the weakness of the spell of the happy-go-lucky may here serve to indicate. There faces us all the while the fact that the act of consideration as an incident of the esthetic pleasure, consideration confidently knowing us to have sooner or later to arrive at it, may be again and again postponed²⁸⁴, but can never hope not some time to fall due. Consideration is susceptible of many forms, some one or other of which no conscious esthetic effort fails to cry out for; and the simplest description of the cry of the novel when sincere—for have we not heard such compositions bluff²⁰² us, as it were, with false cries?—is as an appeal to us when we have read it once to read it yet again. That is the act of consideration; no other process of considering approaches this for directness, so that anything short of it is virtually not to consider at all. The word has sometimes another sense, that of the appeal to us not, for the world, to go back—this being of course consideration of a sort; the sort clearly that the truly flushed production should be the last to invoke²¹⁷. The effect of consideration, we need scarce remark, is to light for us in a work of art the hundred questions of how and why and whither, and the effect of these questions, once lighted, is enormously to thicken and complicate²⁸⁵, even if toward final clarifications, what we have called the amused state produced in us by the work. The more our amusement multiplies its terms the more fond and the more rewarded consideration becomes; the fewer it leaves them, on the other hand, the less to be resisted for us is the impression of “bare ruined choirs²⁸⁶ where late the sweet birds sang.” Birds that have appeared to sing, or whose silence we have not heeded²⁸⁷, on a first perusal, prove on a second to have no note to contribute, and whether or no a second is enough to admonish²⁸⁸ us of those we miss, we mostly expect much from it in the way of emphasis of those we find. Then it is that notes of intention become more present or more absent; then it is that we take the measure of what we have already called our effective provision. The bravest providers and designers show at this point something still in store which only the second rummage²⁸⁹ was appointed to draw forth. To the variety of these ways of not letting our fondness fast is there not practically no limit?—and of the arts, the devices, the graces, the subtle secrets applicable to such an end what presumptuous critic shall pretend to draw the list? Let him for the moment content himself with saying that many of the most effective are mysteries, precisely, of method, or that even when they are not most essentially²⁹⁰ and directly so it takes method, blest method, to extract their soul and to determine their action.

 

It is odd and delightful perhaps that at the very moment of our urging this truth we should happen to be regaled with a really supreme specimen²⁷⁴ of the part playable in a novel by the source of interest, the principle of provision attended to, for which we claim importance. Mr. Joseph Conrad’s “Chance” is none the less a signal instance of provision the most earnest and the most copious for its leaving ever so much to be said about the particular provision effected. It is none the less an extraordinary exhibition of method by the fact that the method is, we venture to say, without a precedent²⁹¹ in any like work. It places Mr. Conrad absolutely alone as a votary²⁹² of the way to do a thing that shall make it undergo most doing. The way to do it that shall make it undergo least is the line on which we are mostly now used to see prizes carried off; so that the author of “Chance” gathers up on this showing all sorts of comparative distinction. He gathers up at least two sorts—that of bravery in absolutely reversing the process most accredited²⁹³, and that, quite separate, we make out, of performing the man?uvre under salvos of recognition. It is not in these days often given to a refinement²⁹⁴ of design to be recognised, but Mr. Conrad has made his achieve that miracle—save in so far indeed as the miracle has been one thing and the success another. The miracle is of the rarest, confounding all calculation and suggesting more reflections than we can begin to make place for here; but the sources of surprise surrounding it might be, were this possible, even greater and yet leave the fact itself in all independence, the fact that the whole undertaking was committed by its very first step either to be “art” exclusively or to be nothing. This is the prodigious²⁹⁵ rarity, since surely we have known for many a day no other such case of the whole clutch of eggs, and these withal of the freshest, in that one basket; to which it may be added that if we say for many a day this is not through our readiness positively²⁹⁶ to associate the sight with any very definite moment of the past. What concerns us is that the general effect of “Chance” is arrived at by a pursuance of means to the end in view contrasted with which every other current form of the chase can only affect us as cheap and futile²⁹⁷; the carriage of the burden or amount of service required on these lines exceeding surely all other such displayed degrees of energy put together. Nothing could well interest us more than to see the exemplary value of attention, attention given by the author and asked of the reader, attested²⁹⁸ in a case in which it has had almost unspeakable difficulties to struggle with—since so we are moved to qualify the particular difficulty Mr. Conrad has “elected” to face: the claim for method in itself, method in this very sense of attention applied²⁹⁹, would be somehow less lighted if the difficulties struck us as less consciously, or call it even less wantonly, invoked. What they consist of we should have to diverge³⁰⁰ here a little to say, and should even then probably but lose ourselves in the dim question of why so special, eccentric and desperate a course, so deliberate a plunge³⁰¹ into threatened frustration³⁰², should alone have seemed open. It has been the course, so far as three words may here serve, of his so multiplying his creators or, as we are now fond of saying, producers, as to make them almost more numerous and quite emphatically more material than the creatures and the production itself in whom and which we by the general law of fiction expect such agents to lose themselves. We take for granted by the general law of fiction a primary author, take him so much for granted that we forget him in proportion as he works upon us, and that he works upon us most in fact by making us forget him.

 

Mr. Conrad’s first care on the other hand is expressly to posit³⁹ or set up a reciter, a definite responsible intervening first person singular, possessed³⁰³ of infinite sources of reference, who immediately proceeds to set up another, to the end that this other may conform again to the practice, and that even at that point the bridge over to the creature, or in other words to the situation or the subject, the thing “produced,” shall, if the fancy takes it, once more and yet once more glory in a gap. It is easy to see how heroic the undertaking of an effective fusion³⁰⁴ becomes on these terms, fusion between what we are to know and that prodigy³⁰⁵ of our knowing which is ever half the very beauty of the atmosphere of authenticity³⁰⁶; from the moment the reporters are thus multiplied from pitch to pitch the tone of each, especially as “rendered” by his precursor³⁰⁷ in the series, becomes for the prime poet of all an immense question—these circumferential³⁰⁸ tones having not only to be such individually separate notes, but to keep so clear of the others, the central, the numerous and various voices of the agents proper, those expressive³⁰⁹ of the action itself and in whom the objectivity resides. We usually escape the worst of this difficulty of a tone about the tone of our characters, our projected performers, by keeping it single, keeping it “down” and thereby comparatively impersonal³¹⁰ or, as we may say, inscrutable; which is what a creative force, in its blest fatuity, likes to be. But the omniscience³¹¹, remaining indeed nameless, though constantly active, which sets Marlow’s omniscience in motion from the very first page, insisting on a reciprocity with it throughout, this original omniscience invites consideration of itself only in a degree less than that in which Marlow’s own invites it; and Marlow’s own is a prolonged hovering³¹² flight of the subjective³¹³ over the outstretched ground of the case exposed. We make out this ground but through the shadow cast by the flight, clarify it though the real author visibly reminds himself again and again that he must—all the more that, as if by some tremendous forecast of future applied science, the upper aeroplane causes another, as we have said, to depend from it and that one still another; these dropping shadow after shadow, to the no small menace of intrinsic colour and form and whatever, upon the passive expanse. What shall we most call Mr. Conrad’s method accordingly but his attempt to clarify quand même—ridden as he has been, we perceive at the end of fifty pages of “Chance,” by such a danger of steeping his matter in perfect eventual³¹⁴ obscuration as we recall no other artist’s consenting to with an equal grace. This grace, which presently comes over us as the sign of the whole business, is Mr. Conrad’s gallantry itself, and the shortest account of the rest of the connection for our present purpose is that his gallantry is thus his success. It literally strikes us that his volume sets in motion more than anything else a drama in which his own system and his combined eccentricities³¹⁵ of recital represent the protagonist in face of powers leagued against it, and of which the dénouement gives us the system fighting in triumph, though with its back desperately³¹⁶ to the wall, and laying the powers piled up at its feet. This frankly³¹⁷ has been our spectacle, our suspense and our thrill; with the one flaw on the roundness of it all the fact that the predicament was not imposed rather than invoked, was not the effect of a challenge from without, but that of a mystic impulse from within.

 

Of an exquisite³¹⁸ refinement at all events are the critical questions opened up in the attempt, the question in particular of by what it exactly is that the experiment is crowned. Pronouncing it crowned and the case saved by sheer gallantry, as we did above, is perhaps to fall just short of the conclusion we might reach were we to push further. “Chance” is an example of objectivity, most precious of aims, not only menaced but definitely compromised; whereby we are in presence of something really of the strangest, a general and diffused³¹⁹ lapse of authenticity which an inordinate number of common readers—since it always takes this and these to account encouragingly for “editions”—have not only condoned³²⁰ but have emphatically commended. They can have done this but through the bribe³²¹ of some authenticity other in kind, no doubt, and seeming to them equally great if not greater, which gives back by the left hand what the right has, with however dissimulated³²² a grace, taken away. What Mr. Conrad’s left hand gives back then is simply Mr. Conrad himself. We asked above what would become, by such a form of practice, of indispensable “fusion” or, to call it by another name, of the fine process by which our impatient material, at a given moment, shakes off the humiliation³²³ of the handled, the fumbled³²⁴ state, puts its head in the air and, to its own beautiful illusory consciousness at least, simply runs its race. Such an amount of handling and fumbling³²⁵ and repointing has it, on the system of the multiplied “putter into marble,” to shake off! And yet behold³²⁶, the sense of discomfort³²⁷, as the show here works out, has been conjured³²⁸ away. The fusion has taken place, or at any rate a fusion; only it has been transferred in wondrous³²⁹ fashion to an unexpected, and on the whole more limited plane of operation; it has succeeded in getting effected, so to speak, not on the ground but in the air, not between our writer’s idea and his machinery³³⁰, but between the different parts of his genius itself. His genius is what is left over from the other, the compromised and compromising quantities—the Marlows and their determinant inventors and interlocutors, the Powells, the Franklins, the Fynes, the tell-tale little dogs, the successive members of a cue from one to the other of which the sense and the interest of the subject have to be passed on together, in the manner of the buckets of water for the improvised³³¹ extinction³³² of a fire, before reaching our apprehension: all with whatever result, to this apprehension, of a quantity to be allowed for as spilt by the way. The residuum has accordingly the form not of such and such a number of images discharged and ordered, but that rather of a wandering, circling, yearning³³³ imaginative faculty³³⁴, encountered in its habit as it lives and diffusing³³⁵ itself as a presence or a tide, a noble sociability³³⁶ of vision. So we have as the force that fills the cup just the high-water mark of a beautiful and generous mind at play in conditions comparatively thankless—thoroughly, unweariedly, yet at the same time ever so elegantly at play, and doing more for itself than it succeeds in getting done for it. Than which nothing could be of a greater reward to critical curiosity were it not still for the wonder of wonders, a new page in the record altogether—the fact that these things are apparently what the common reader has seen and understood. Great then would seem to be after all the common reader!

IV

 

We must not fail of the point, however, that we have made these remarks not at all with an eye to the question of whether “Chance” has been well or ill inspired as to its particular choice of a way of really attending to itself among all the possible alternatives, but only on the ground of its having compared, selected and held on; since any alternative that might have been preferred and that should have been effectively adopted would point our moral as well—and this even if it is of profit none the less to note the most striking of Mr. Conrad’s compositional consequences. There is one of these that has had most to do with making his pages differ in texture³³⁷, and to our very first glance, from that straggle of ungoverned verbiage³³⁸ which leads us up and down those of his fellow fabulists in general on a vain hunt for some projected mass of truth, some solidity of substance, as to which the deluge³³⁹ of “dialogue,” the flooding report of things said, or at least of words pretendedly spoken, shall have learned the art of being merely illustrational. What first springs from any form of real attention, no matter which, we on a comparison so made quickly perceive to be a practical challenge of the preposterous³⁴⁰ pretension of this most fatuous³⁴¹ of the luxuries of looseness to acquit³⁴² itself with authority of the structural³⁴³ and compositional office. Infinitely³⁴⁴ valid³⁴⁵ and vivid as illustration, it altogether depends for dignity and sense upon our state of possession of its historic preliminaries, its promoting conditions, its supporting ground; that is upon our waiting occupancy of the chamber it proposes to light and which, when no other source of effect is more indicated, it doubtless inimitably fills with life. Then its relation to what encloses and confines and, in its sovereign interest, finely compresses it, offering it constituted aspects, surfaces, presences, faces and figures of the matter we are either generally or acutely concerned with to play over and hang upon, then this relation gives it all its value: it has flowered from the soil prepared and sheds back its richness into the field of cultivation³⁴⁶. It is interesting, in a word, only when nothing else is equally so, carrying the vessel¹⁶⁶ of the interest with least of a stumble or a sacrifice; but it is of the essence that the sounds so set in motion (it being as sound above all that they undertake to convey sense,) should have something to proceed from, in their course, to address themselves to and be affected by, with all the sensibility of sounds. It is of the essence that they should live in a medium, and in a medium only, since it takes a medium to give them an identity, the intenser the better, and that the medium should subserve them by enjoying in a like degree the luxury of an existence. We need of course scarce expressly note that the play, as distinguished³⁴⁷ from the novel, lives exclusively on the spoken word—not on the report of the thing said but, directly and audibly, on that very thing; that it thrives by its law on the exercise under which the novel hopelessly collapses³⁴⁸ when the attempt is made disproportionately to impose it. There is no danger for the play of the cart before the horse, no disaster involved in it; that form being all horse and the interest itself mounted and astride, and not, as that of the novel, dependent in the first instance on wheels. The order in which the drama simply says things gives it all its form, while the story told and the picture painted, as the novel at the pass we have brought it to embraces them, reports of an infinite diversity of matters, gathers together and gives out again a hundred sorts, and finds its order and its structure, its unity¹⁵⁵ and its beauty, in the alternation of parts and the adjustment of differences. It is no less apparent that the novel may be fundamentally organised—such things as “The Egoist” and “The Awkward Age” are there to prove it; but in this case it adheres unconfusedly to that logic¹¹ and has nothing to say to any other. Were it not for a second exception, one at this season rather pertinent³⁴⁹, “Chance” then, to return to it a moment, would be as happy an example as we might just now put our hand on of the automatic working of a scheme unfavourable to that treatment of the colloquy³⁵⁰ by endless dangling³⁵¹ strings³⁵² which makes the current “story” in general so figure to us a porcupine³⁵³ of extravagant yet abnormally relaxed bristles³⁵⁴.

 

The exception we speak of would be Mrs. Wharton’s “Custom of the Country,” in which, as in this lady’s other fictions, we recognise the happy fact of an abuse of no one of the resources it enjoys at the expense of the others; the whole series offering as general an example of dialogue flowering and not weeding, illustrational and not itself starved of illustration, or starved of referability and association, which is the same thing, as meets the eye in any glance that leaves Mr. Wells at Mr. Wells’s best-inspired hour out of our own account. The truth is, however, that Mrs. Wharton is herself here out of our account, even as we have easily recognised Mr. Galsworthy and Mr. Maurice Hewlett to be; these three authors, with whatever differences between them, remaining essentially votaries of selection and intention and being embodiments thereby, in each case, of some state over and above that simple state of possession of much evidence, that confused conception of what the “slice” of life must consist of, which forms the text of our remarks. Mrs. Wharton, her conception of the “slice” so clarified and cultivated, would herself of course form a text in quite another connection, as Mr. Hewlett and Mr. Galsworthy would do each in his own, which we abstain³⁵⁵ from specifying³⁵⁶; but there are two or three grounds on which the author of “Ethan Frome,” “The Valley of Decision” and “The House of Mirth,” whom we brush by with reluctance³⁵⁷, would point the moral of the treasure of amusement sitting in the lap of method with a felicity peculiarly her own. If one of these is that she too has clearly a saturation—which it would be ever so interesting to determine and appreciate—we have it from her not in the crude state but in the extract, the extract that makes all the difference for our sense of an artistic³⁵⁸ economy. If the extract, as would appear, is the result of an artistic economy, as the latter is its logical motive³⁵⁹, so we find it associated in Mrs. Wharton with such appeals to our interest, for instance, as the fact that, absolutely sole among our students of this form, she suffers, she even encourages, her expression to flower into some sharp image or figure of her thought when that will make the thought more finely touch us. Her step, without straying, encounters the living analogy, which she gathers, in passing, without awkwardness of pause, and which the page then carries on its breast as a trophy³⁶⁰ plucked by a happy adventurous dash, a token of spirit and temper as well as a proof of vision. We note it as one of the kinds of proof of vision that most fail us in that comparative desert of the inselective where our imagination has itself to hunt out or call down (often among strange witnessed flounderings or sand-storms) such analogies as may mercifully “put” the thing. Mrs. Wharton not only owes to her cultivated art of putting it the distinction enjoyed when some ideal of expression has the whole of the case, the case once made its concern, in charge, but might further act for us, were we to follow up her exhibition, as lighting³⁶¹ not a little that question of “tone,” the author’s own intrinsic, as to which we have just seen Mr. Conrad’s late production rather tend to darken counsel. “The Custom of the Country” is an eminent³⁶² instance of the sort of tonic³⁶³ value most opposed to that baffled relation between the subject-matter and its emergence³⁶⁴ which we find constituted by the circumvalations of “Chance.” Mrs. Wharton’s reaction in presence of the aspects of life hitherto, it would seem, mainly exposed to her is for the most part the ironic—to which we gather that these particular aspects have so much ministered that, were we to pursue the quest, we might recognise in them precisely the saturation as to which we a moment ago reserved our judgment. “The Custom of the Country” is at any rate consistently, almost scientifically satiric³⁶⁵, as indeed the satiric light was doubtless the only one in which the elements engaged could at all be focussed together. But this happens directly to the profit of something that, as we read, becomes more and more one with the principle of authority at work; the light that gathers is a dry light, of great intensity, and the effect, if not rather the very essence, of its dryness is a particular fine asperity³⁶⁶. The usual “creative” conditions and associations, as we have elsewhere languished³⁶⁷ among them, are thanks to this ever so sensibly altered; the general authoritative³⁶⁸ relation attested becomes clear—we move in an air purged³⁶⁹ at a stroke of the old sentimental and romantic values, the perversions³⁷⁰ with the maximum of waste of perversions, and we shall not here attempt to state what this makes for in the way of esthetic refreshment and relief; the waste having kept us so dangling on the dark esthetic abyss. A shade of asperity may be in such fashion a security against waste, and in the dearth of displayed securities we should welcome it on that ground alone. It helps at any rate to constitute for the talent manifest in “The Custom” a rare identity, so far should we have to go to seek another instance of the dry, or call it perhaps even the hard, intellectual touch in the soft, or call it perhaps even the humid, temperamental air; in other words of the masculine conclusion tending so to crown the feminine observation.

 

If we mentioned Mr. Compton Mackenzie at the beginning of these reflections only to leave him waiting for some further appreciation, this is exactly because his case, to the most interesting effect, is no simple one, like two or three of our others, but on the contrary mystifying enough almost to stand by itself. What would be this striking young writer’s state of acquaintance and possession, and should we find it, on our recognition of it, to be all he is content to pitch forth, without discriminations or determinants, without motives³⁷¹ or lights? Do “Carnival” and “Sinister Street” proceed from the theory of the slice or from the conception of the extract, “the extract flasked and fine,” the chemical process superseding³⁷² the mechanical? Mr. Compton Mackenzie’s literary aspect, though decidedly that of youth, or that of experience, a great deal of young experience, in its freshness, offers the attraction of a complexity defiant³⁷³ of the prompt conclusion, really charms us by giving us something to wonder about. We literally find it not easy to say if there may not lurk³⁷⁴ in “Carnival,” for example, a selective sense more apprehensible, to a push of inquiry, than its overflooded surface, a real invitation to wade³⁷⁵ and upon which everything within the author’s ken¹⁷ appears poured out, would at first lead us to suspect. The question comes up in like fashion as to the distinctly more developed successor of that work, before which we in fact find questions multiply to a positive quickening of critical pleasure. We ask ourselves what “Sinister Street” may mean as a whole in spite of our sense of being brushed from the first by a hundred subordinate purposes, the succession and alternation of which seem to make after a fashion a plan, and which, though full of occasional design, yet fail to gather themselves for application or to converge³⁷⁶ to an idea. Any idea will serve, ever, that has held up its candle to composition—and it is perhaps because composition proposes itself under Mr. Compton Mackenzie’s energy on a scale well-nigh of the most prodigious that we must wait to see whither it tends. The question of what he may here mean “on the whole,” as we just said, is doubtless admonished³⁷⁷ to stand back till we be possessed of the whole. This interesting volume is but a first, committed up to its eyes to continuity and with an announced sequel to follow. The recital exhibits at the point we have reached the intimate experience of a boy at school and in his holidays, the amplification³⁷⁸ of which is to come with his terms and their breaks at a university; and the record will probably form a more squared and extended picture of life equally conditioned by the extremity³⁷⁹ of youth than we shall know where else to look for. Youth clearly has been Mr. Mackenzie’s saturation, as it has been Mr. Hugh Walpole’s, but we see this not as a subject (youth in itself is no specific subject, any more than age is,) but as matter for a subject and as requiring a motive to redeem³⁸⁰ it from the merely passive state of the slice. We are sure throughout both “Sinister Street” and “Carnival” of breathing the air of the extract, as we contentiously call it, only in certain of the rounded episodes strung on the loose cord as so many vivid beads³⁸¹, each of its chosen hue³⁸², and the series of which, even with differences of price between them, we take for a lively gage¹⁰ of performance to come. These episodes would be easy to cite; they are handsomely numerous and each strikes us as giving in its turn great salience to its motive; besides which each is in its turn “done” with an eminent sense and a remarkably straight hand for doing. They may well be cited together as both signally and finely symptomatic, for the literary gesture and the bravura³⁸³ breadth with which such frequent medallions as the adventure on the boy’s part of the Catholic church at Bournemouth, as his experiment of the Benedictine house in Wiltshire, as his period of acquaintance with the esthetic cénacle in London, as his relation with his chosen school friend under the intensity of boyish choosing, are ornamentally³⁸⁴ hung up, differ not so much in degree as in kind from any play of presentation that we mostly see elsewhere offered us. To which we might add other like matters that we lack space to enumerate³⁸⁵, the scene, the aspect, the figure in motion tending always, under touches thick and strong, to emerge and flush, sound and strike, catch us in its truth. We have read “tales of school life” in which the boys more or less swarmed and sounded, but from which the masters have practically been quite absent, to the great weakening of any picture of the boyish consciousness, on which the magisterial³⁸⁶ fact is so heavily projected. If that is less true for some boys than for others, the “point” of Michael Fane is that for him it is truest. The types of masters have in “Sinister Street” both number and salience, rendered though they be mostly as grotesques—which effect we take as characterising the particular turn of mind of the young observer and discoverer commemorated³⁸⁷.

 

That he is a discoverer is of the essence of his interest, a successful and resourceful young discoverer, even as the poor ballet-girl in “Carnival” is a tragically³⁸⁸ baffled and helpless one; so that what each of the works proposes to itself is a recital of the things discovered. Those thus brought to our view in the boy’s case are of much more interest, to our sense, than like matters in the other connection, thanks to his remarkable and living capacity; the heroine of “Carnival” is frankly too minute a vessel of experience for treatment on the scale on which the author has honoured her—she is done assuredly, but under multiplications³⁸⁹ of touch that become too much, in the narrow field, monotonies; and she leaves us asking almost as much what she exhibitionally means, what application resides in the accumulation of facts concerning her, as if she too were after all but a slice, or at the most but a slice of a slice, and her history but one of the aspects, on her author’s part, of the condition of repleteness against the postulate³⁹⁰ of the entire adequacy of which we protest. So far as this record does affect us as an achieved “extract,” to reiterate²⁴⁵ our term, that result abides³⁹¹ in its not losing its centre, which is its fidelity³⁹² to the one question of her dolefully embarrassed little measure of life. We know to that extent with some intensity what her producer would be at, yet an element of the arbitrary hangs for us about the particular illustration—illustrations leaving us ever but half appreciative³⁹³ till we catch that one bright light in which they give out all they contain. This light is of course always for the author to set somewhere. Is it set then so much as it should be in “Sinister Street,” and is our impression of the promise of this recital one with a dawning divination of the illustrative card that Mr. Mackenzie may still have up his sleeve and that our after sense shall recognise as the last thing left on the table? By no means, we can as yet easily say, for if a boy’s experience has ever been given us for its face value simply, for what it is worth in mere recovered intensity, it is so given us here. Of all the saturations³⁹⁴ it can in fact scarce have helped being the most sufficient in itself, for it is exactly, where it is best, from beginning to end the remembered and reported thing, that thing alone, that thing existent in the field of memory, though gaining value too from the applied intelligence, or in other words from the lively talent, of the memoriser. The memoriser helps, he contributes, he completes, and what we have admired in him is that in the case of each of the pearls fished up by his dive—though indeed these fruits of the rummage are not all pearls—his mind has had a further iridescence³⁹⁵ to confer. It is the fineness of the iridescence that on such an occasion matters, and this appeal to our interest is again and again on Mr. Compton Mackenzie’s page of the happiest and the brightest. It is never more so than when we catch him, as we repeatedly do, in the act of positively caring for his expression as expression, positively providing for his phrase as a fondly foreseeing parent for a child, positively loving it in the light of what it may do for him—meeting revelations, that is, in what it may do, and appearing to recognise that the value of the offered thing, its whole relation to us, is created by the breath of language, that on such terms exclusively, for appropriation³⁹⁶ and enjoyment, we know it, and that any claimed independence of “form” on its part is the most abject of fallacies. Do these things mean that, moved by life, this interesting young novelist is even now uncontrollably on the way to style? We might cite had we space several symptoms, the very vividest, of that possibility; though such an appearance in the field of our general survey has against it presumptions³⁹⁷ enough to bring us surely back to our original contention—the scant³⁹⁸ degree in which that field has ever had to reckon with criticism.

1 paradox   

n.似乎矛盾却正确的说法；自相矛盾的人(物)

参考例句：

• The story contains many levels of paradox.这个故事存在多重悖论。
• The paradox is that Japan does need serious education reform.矛盾的地方是日本确实需要教育改革。

2 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。

3 abeyance   

n.搁置，缓办，中止，产权未定

参考例句：

• The question is in abeyance until we know more about it.问题暂时搁置，直到我们了解更多有关情况再行研究。
• The law was held in abeyance for well over twenty years.这项法律被搁置了二十多年。

4 renewal   

adj.(契约)延期，续订，更新，复活，重来

参考例句：

• Her contract is coming up for renewal in the autumn.她的合同秋天就应该续签了。
• Easter eggs symbolize the renewal of life.复活蛋象征新生。

5 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。

6 perversity   

n.任性；刚愎自用

参考例句：

• She's marrying him out of sheer perversity.她嫁给他纯粹是任性。
• The best of us have a spice of perversity in us.在我们最出色的人身上都有任性的一面。

7 vociferous   

adj.喧哗的，大叫大嚷的

参考例句：

• They are holding a vociferous debate.他们在吵吵嚷嚷地辩论。
• He was a vociferous opponent of Conservatism.他高声反对保守主义。

8 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。

9 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。

10 gage   

n.标准尺寸，规格；量规，量表 [=gauge]

参考例句：

• Can you gage what her reaction is likely to be?你能揣测她的反应可能是什么吗？
• It's difficult to gage one's character.要判断一个人的品格是很困难的。

11 logic   

n.逻辑(学)；逻辑性

参考例句：

• What sort of logic is that?这是什么逻辑？
• I don't follow the logic of your argument.我不明白你的论点逻辑性何在。

12 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。

13 pedantically   

参考例句：

14 improvisational   

adj. 即兴的

参考例句：

• I have never been at games like charades or improvisational acting. 您从来都唔擅长玩“有口难言”或者“即席表演”之类既游戏。
• I'm practicing self-control, those random and improvisational acts aren't allowed. 我在练习控制自己，那些随意的、即兴的举动是不允许的。

15 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。

16 awareness   

n.意识，觉悟，懂事，明智

参考例句：

• There is a general awareness that smoking is harmful.人们普遍认识到吸烟有害健康。
• Environmental awareness has increased over the years.这些年来人们的环境意识增强了。

17 ken   

n.视野，知识领域

参考例句：

• Such things are beyond my ken.我可不懂这些事。
• Abstract words are beyond the ken of children.抽象的言辞超出小孩所理解的范围.

18 ascertaining   

v.弄清，确定，查明( ascertain的现在分词 )

参考例句：

• I was ascertaining whether the cellar stretched out in front or behind. 我当时是要弄清楚地下室是朝前还是朝后延伸的。 来自辞典例句
• The design and ascertaining of permanent-magnet-biased magnetic bearing parameter are detailed introduced. 并对永磁偏置磁悬浮轴承参数的设计和确定进行了详细介绍。 来自互联网

19 instinctive   

adj.(出于)本能的；直觉的；(出于)天性的

参考例句：

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

20 dearth   

n.缺乏，粮食不足，饥谨

参考例句：

• There is a dearth of good children's plays.目前缺少优秀的儿童剧。
• Many people in that country died because of dearth of food.那个国家有许多人因为缺少粮食而死。

21 lapse   

n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效

参考例句：

• The incident was being seen as a serious security lapse.这一事故被看作是一次严重的安全疏忽。
• I had a lapse of memory.我记错了。

22 fatuity   

n.愚蠢，愚昧

参考例句：

• This is no doubt the first step out of confusion and fatuity.这无疑是摆脱混乱与愚味的第一步。
• Therefore,ignorance of history often leads to fatuity in politics.历史的无知，往往导致政治上的昏庸。

23 transcend   

vt.超出，超越(理性等)的范围

参考例句：

• We can't transcend the limitations of the ego.我们无法超越自我的局限性。
• Everyone knows that the speed of airplanes transcend that of ships.人人都知道飞机的速度快于轮船的速度。

24 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。

25 platitude   

n.老生常谈，陈词滥调

参考例句：

• The talk is no more than a platitude. 这番话无非是老生常谈。
• His speech is full of platitude. 他的讲话充满了陈词滥调。

26 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。

27 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。

28 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

29 torrent   

n.激流，洪流；爆发，(话语等的)连发

参考例句：

• The torrent scoured a channel down the hillside. 急流沿着山坡冲出了一条沟。
• Her pent-up anger was released in a torrent of words.她压抑的愤怒以滔滔不绝的话爆发了出来。

30 swell   

vi.膨胀，肿胀；增长，增强

参考例句：

• The waves had taken on a deep swell.海浪汹涌。
• His injured wrist began to swell.他那受伤的手腕开始肿了。

31 extravagant   

adj.奢侈的；过分的；(言行等)放肆的

参考例句：

• They tried to please him with fulsome compliments and extravagant gifts.他们想用溢美之词和奢华的礼品来取悦他。
• He is extravagant in behaviour.他行为放肆。

32 affluents   

n.富裕的，富足的( affluent的名词复数 )

参考例句：

33 turbid   

adj.混浊的，泥水的，浓的

参考例句：

• He found himself content to watch idly the sluggish flow of the turbid stream.他心安理得地懒洋洋地望着混浊的河水缓缓流着。
• The lake's water is turbid.这个湖里的水混浊。

34 gathering   

n.集会，聚会，聚集

参考例句：

• He called on Mr. White to speak at the gathering.他请怀特先生在集会上讲话。
• He is on the wing gathering material for his novels.他正忙于为他的小说收集资料。

35 momentum   

n.动力，冲力，势头；动量

参考例句：

• We exploit the energy and momentum conservation laws in this way.我们就是这样利用能量和动量守恒定律的。
• The law of momentum conservation could supplant Newton's third law.动量守恒定律可以取代牛顿第三定律。

36 irrelevant   

adj.不恰当的，无关系的，不相干的

参考例句：

• That is completely irrelevant to the subject under discussion.这跟讨论的主题完全不相关。
• A question about arithmetic is irrelevant in a music lesson.在音乐课上，一个数学的问题是风马牛不相及的。

37 complacent   

adj.自满的；自鸣得意的

参考例句：

• We must not become complacent the moment we have some success.我们决不能一见成绩就自满起来。
• She was complacent about her achievements.她对自己的成绩沾沾自喜。

38 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

39 posit   

v.假定，认为

参考例句：

• If she needs salvation,she will posit a savior.如果她需要救助，她就会设想一个救助者。
• Other historians posit that she died of old age around 550 BC.别的史学家则认为她一直活到公元前550年左右才寿终正寝。

40 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。

41 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

42 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。

43 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。

44 contention   

n.争论，争辩，论战；论点，主张

参考例句：

• The pay increase is the key point of contention. 加薪是争论的焦点。
• The real bone of contention,as you know,is money.你知道，争论的真正焦点是钱的问题。

45 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。

46 incurable   

adj.不能医治的，不能矫正的，无救的；n.不治的病人，无救的人

参考例句：

• All three babies were born with an incurable heart condition.三个婴儿都有不可治瘉的先天性心脏病。
• He has an incurable and widespread nepotism.他们有不可救药的，到处蔓延的裙带主义。

47 contentiously   

参考例句：

48 imputation   

n.归罪，责难

参考例句：

• I could not rest under the imputation.我受到诋毁，无法平静。
• He resented the imputation that he had any responsibility for what she did.把她所作的事情要他承担，这一责难，使他非常恼火。

49 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。

50 pointed   

adj.尖的，直截了当的

参考例句：

• He gave me a very sharp pointed pencil.他给我一支削得非常尖的铅笔。
• She wished to show Mrs.John Dashwood by this pointed invitation to her brother.她想通过对达茨伍德夫人提出直截了当的邀请向她的哥哥表示出来。

51 havens   

n.港口，安全地方( haven的名词复数 )v.港口，安全地方( haven的第三人称单数 )

参考例句：

• Your twenty havens would back out at the last minute anyhow. 你那二十个避难所到了最后一分钟也要不认帐。 来自辞典例句
• Using offshore havens to avoid taxes and investor protections. 使用海面的港口避免税和投资者保护。 来自互联网

52 inviting   

adj.诱人的，引人注目的

参考例句：

• An inviting smell of coffee wafted into the room.一股诱人的咖啡香味飘进了房间。
• The kitchen smelled warm and inviting and blessedly familiar.这间厨房的味道温暖诱人，使人感到亲切温馨。

53 presumption   

n.推测，可能性，冒昧，放肆，[法律]推定

参考例句：

• Please pardon my presumption in writing to you.请原谅我很冒昧地写信给你。
• I don't think that's a false presumption.我认为那并不是错误的推测。

54 specially   

adv.特定地；特殊地；明确地

参考例句：

• They are specially packaged so that they stack easily.它们经过特别包装以便于堆放。
• The machine was designed specially for demolishing old buildings.这种机器是专为拆毁旧楼房而设计的。

55 trophies   

n.（为竞赛获胜者颁发的）奖品( trophy的名词复数 )；奖杯；（尤指狩猎或战争中获得的）纪念品；（用于比赛或赛跑名称）奖

参考例句：

• His football trophies were prominently displayed in the kitchen. 他的足球奖杯陈列在厨房里显眼的位置。 来自《简明英汉词典》
• The hunter kept the lion's skin and head as trophies. 这猎人保存狮子的皮和头作为纪念品。 来自《现代英汉综合大词典》

56 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。

57 enumeration   

n.计数，列举；细目；详表；点查

参考例句：

• Predictive Categoriesinclude six categories of prediction, namely Enumeration, Advance Labeling, Reporting,Recapitulation, Hypotheticality, and Question. 其中预设种类又包括列举(Enumeration)、提前标示(Advance Labeling)、转述(Reporting)、回顾(Recapitulation)、假设(Hypotheticality)和提问(Question)。 来自互联网
• Here we describe a systematic procedure which is basically "enumeration" in nature. 这里介绍一个本质上是属于“枚举法”的系统程序。 来自辞典例句

58 oar   

n.桨，橹，划手；v.划行

参考例句：

• The sailors oar slowly across the river.水手们慢慢地划过河去。
• The blade of the oar was bitten off by a shark.浆叶被一条鲨鱼咬掉了。

59 sundry   

adj.各式各样的，种种的

参考例句：

• This cream can be used to treat sundry minor injuries.这种药膏可用来治各种轻伤。
• We can see the rich man on sundry occasions.我们能在各种场合见到那个富豪。

60 saturation   

n.饱和(状态)；浸透

参考例句：

• The company's sales are now close to saturation in many western countries.这家公司的产品销售量在许多西方国家已接近饱和。
• Road traffic has reached saturation point.公路交通已达到饱和点。

61 saturated   

a.饱和的，充满的

参考例句：

• The continuous rain had saturated the soil. 连绵不断的雨把土地淋了个透。
• a saturated solution of sodium chloride 氯化钠饱和溶液

62 potently   

参考例句：

• Various level of SSBB shall to supervise and manage potently for boiler's quality of installation. 各级安全监察机构应加强对锅炉安装质量的监察监督管理。 来自互联网

63 emulation   

n.竞争；仿效

参考例句：

• The young man worked hard in emulation of his famous father.这位年轻人努力工作，要迎头赶上他出名的父亲。
• His spirit of assiduous study is worthy of emulation.他刻苦钻研的精神，值得效法。

64 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。

65 teller   

n.银行出纳员；(选举)计票员

参考例句：

• The bank started her as a teller.银行起用她当出纳员。
• The teller tried to remain aloof and calm.出纳员力图保持冷漠和镇静。

66 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。

67 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。

68 amenable   

adj.经得起检验的；顺从的；对负有义务的

参考例句：

• His scientific discoveries are amenable to the laws of physics.他在科学上的发现经得起物理定律的检验。
• He is amenable to counsel.他这人听劝。

69 convertible   

adj.可改变的，可交换，同意义的；n.有活动摺篷的汽车

参考例句：

• The convertible sofa means that the apartment can sleep four.有了这张折叠沙发，公寓里可以睡下4个人。
• That new white convertible is totally awesome.那辆新的白色折篷汽车简直棒极了。

70 apprehension   

n.理解，领悟；逮捕，拘捕；忧虑

参考例句：

• There were still areas of doubt and her apprehension grew.有些地方仍然存疑，于是她越来越担心。
• She is a girl of weak apprehension.她是一个理解力很差的女孩。

71 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。

72 immersion   

n.沉浸；专心

参考例句：

• The dirt on the bottom of the bath didn't encourage total immersion.浴缸底有污垢，不宜全身浸泡于其中。
• The wood had become swollen from prolonged immersion.因长时间浸泡，木头发胀了。

73 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。

74 plausibility   

n. 似有道理, 能言善辩

参考例句：

• We can add further plausibility to the above argument. 我们可以在上述论据之外，再进一步增添一个合理的论据。
• Let us consider the charges she faces, and the legal plausibility of those charges. 让我们考虑一下她面临的指控以及这些指控在法律上的可信性。

75 auspicious   

adj.吉利的；幸运的，吉兆的

参考例句：

• The publication of my first book was an auspicious beginning of my career.我的第一本书的出版是我事业吉祥的开始。
• With favorable weather conditions it was an auspicious moment to set sail.风和日丽，正是扬帆出海的黄道吉日。

76 auspiciously   

adv.吉利； 繁荣昌盛； 前途顺利； 吉祥

参考例句：

• He started his new job auspiciously on his birthday. 他在他生日那天找到了新工作，真是幸运。 来自《简明英汉词典》
• The year began auspiciously with good trade figures for January. 一月份贸易额可观，今年一开头就前景光明。 来自《简明英汉词典》

77 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。

78 triumphant   

adj.胜利的，成功的；狂欢的，喜悦的

参考例句：

• The army made a triumphant entry into the enemy's capital.部队胜利地进入了敌方首都。
• There was a positively triumphant note in her voice.她的声音里带有一种极为得意的语气。

79 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。

80 serene   

adj. 安详的，宁静的，平静的

参考例句：

• He has entered the serene autumn of his life.他已进入了美好的中年时期。
• He didn't speak much,he just smiled with that serene smile of his.他话不多，只是脸上露出他招牌式的淡定的微笑。

81 immortal   

adj.不朽的；永生的，不死的；神的

参考例句：

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

82 erect   

n./v.树立，建立，使竖立；adj.直立的，垂直的

参考例句：

• She held her head erect and her back straight.她昂着头，把背挺得笔直。
• Soldiers are trained to stand erect.士兵们训练站得笔直。

83 apotheoses   

n.尊为神圣( apotheosis的名词复数 )；神化；美化；颂扬

参考例句：

84 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》

85 tempting   

a.诱人的, 吸引人的

参考例句：

• It is tempting to idealize the past. 人都爱把过去的日子说得那么美好。
• It was a tempting offer. 这是个诱人的提议。

86 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。

87 specification   

n.详述；[常pl.]规格，说明书，规范

参考例句：

• I want to know his specification of details.我想知道他对细节的详述。
• Examination confirmed that the quality of the products was up to specification.经检查，产品质量合格。

88 affluence   

n.充裕，富足

参考例句：

• Their affluence is more apparent than real.他们的富有是虚有其表。
• There is a lot of affluence in this part of the state because it has many businesses.这个州的这一部分相当富有，因为它有很多商行。

89 gaped   

v.目瞪口呆地凝视( gape的过去式和过去分词 )；张开，张大

参考例句：

• A huge chasm gaped before them. 他们面前有个巨大的裂痕。 来自《简明英汉词典》
• The front door was missing. A hole gaped in the roof. 前门不翼而飞，屋顶豁开了一个洞。 来自辞典例句

90 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。

91 crook   

v.使弯曲；n.小偷，骗子，贼；弯曲(处)

参考例句：

• He demanded an apology from me for calling him a crook.我骂他骗子，他要我向他认错。
• She was cradling a small parcel in the crook of her elbow.她用手臂挎着一个小包裹。

92 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。

93 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》

94 divination   

n.占卜，预测

参考例句：

• Divination is made up of a little error and superstition,plus a lot of fraud.占卜是由一些谬误和迷信构成，再加上大量的欺骗。
• Katherine McCormack goes beyond horoscopes and provides a quick guide to other forms of divination.凯瑟琳·麦考马克超越了占星并给其它形式的预言提供了快速的指导。

95 predecessors   

n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身

参考例句：

• The new government set about dismantling their predecessors' legislation. 新政府正着手废除其前任所制定的法律。 来自《简明英汉词典》
• Will new plan be any more acceptable than its predecessors? 新计划比原先的计划更能令人满意吗？ 来自《简明英汉词典》

96 superstition   

n.迷信，迷信行为

参考例句：

• It's a common superstition that black cats are unlucky.认为黑猫不吉祥是一种很普遍的迷信。
• Superstition results from ignorance.迷信产生于无知。

97 practitioners   

n.习艺者，实习者( practitioner的名词复数 )；从业者（尤指医师）

参考例句：

• one of the greatest practitioners of science fiction 最了不起的科幻小说家之一
• The technique is experimental, but the list of its practitioners is growing. 这种技术是试验性的，但是采用它的人正在增加。 来自辞典例句

98 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。

99 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。

100 alas   

int.唉(表示悲伤、忧愁、恐惧等)

参考例句：

• Alas!The window is broken!哎呀！窗子破了！
• Alas,the truth is less romantic.然而，真理很少带有浪漫色彩。

101 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。

102 votaries   

n.信徒( votary的名词复数 )；追随者；（天主教）修士；修女

参考例句：

103 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。

104 arena   

n.竞技场，运动场所；竞争场所，舞台

参考例句：

• She entered the political arena at the age of 25. 她25岁进入政界。
• He had not an adequate arena for the exercise of his talents.他没有充分发挥其才能的场所。

105 athletic   

adj.擅长运动的，强健的；活跃的，体格健壮的

参考例句：

• This area has been marked off for athletic practice.这块地方被划出来供体育训练之用。
• He is an athletic star.他是一个运动明星。

106 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。

107 untold   

adj.数不清的，无数的

参考例句：

• She has done untold damage to our chances.她给我们的机遇造成了不可估量的损害。
• They suffered untold terrors in the dark and huddled together for comfort.他们遭受着黑暗中的难以言传的种种恐怖，因而只好挤在一堆互相壮胆。

108 muse   

n.缪斯（希腊神话中的女神），创作灵感

参考例句：

• His muse had deserted him,and he could no longer write.他已无灵感，不能再写作了。
• Many of the papers muse on the fate of the President.很多报纸都在揣测总统的命运。

109 revolved   

v.（使）旋转( revolve的过去式和过去分词 )；细想

参考例句：

• The fan revolved slowly. 电扇缓慢地转动着。
• The wheel revolved on its centre. 轮子绕中心转动。 来自《简明英汉词典》

110 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。

111 complacently   

adv. 满足地, 自满地, 沾沾自喜地

参考例句：

• He complacently lived out his life as a village school teacher. 他满足于一个乡村教师的生活。
• "That was just something for evening wear," returned his wife complacently. “那套衣服是晚装，"他妻子心安理得地说道。 来自英汉文学 - 嘉莉妹妹

112 diluted   

无力的，冲淡的

参考例句：

• The paint can be diluted with water to make a lighter shade. 这颜料可用水稀释以使色度淡一些。
• This pesticide is diluted with water and applied directly to the fields. 这种杀虫剂用水稀释后直接施用在田里。

113 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

114 persuasion   

n.劝说；说服；持有某种信仰的宗派

参考例句：

• He decided to leave only after much persuasion.经过多方劝说，他才决定离开。
• After a lot of persuasion,she agreed to go.经过多次劝说后，她同意去了。

115 bristled   

adj. 直立的，多刺毛的 动词bristle的过去式和过去分词

参考例句：

• They bristled at his denigrating description of their activities. 听到他在污蔑他们的活动，他们都怒发冲冠。
• All of us bristled at the lawyer's speech insulting our forefathers. 听到那个律师在讲演中污蔑我们的祖先，大家都气得怒发冲冠。

116 bristle   

v.（毛发）直立，气势汹汹，发怒；n.硬毛发

参考例句：

• It has a short stumpy tail covered with bristles.它粗短的尾巴上鬃毛浓密。
• He bristled with indignation at the suggestion that he was racist.有人暗示他是个种族主义者，他对此十分恼火。

117 catching   

adj.易传染的，有魅力的，迷人的，接住

参考例句：

• There are those who think eczema is catching.有人就是认为湿疹会传染。
• Enthusiasm is very catching.热情非常富有感染力。

118 tune   

n.调子；和谐，协调；v.调音，调节，调整

参考例句：

• He'd written a tune,and played it to us on the piano.他写了一段曲子，并在钢琴上弹给我们听。
• The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。

119 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。

120 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。

121 interfere   

v.(in)干涉，干预；(with)妨碍，打扰

参考例句：

• If we interfere, it may do more harm than good.如果我们干预的话，可能弊多利少。
• When others interfere in the affair,it always makes troubles. 别人一卷入这一事件，棘手的事情就来了。

122 density   

n.密集，密度，浓度

参考例句：

• The population density of that country is 685 per square mile.那个国家的人口密度为每平方英里685人。
• The region has a very high population density.该地区的人口密度很高。

123 susceptible   

adj.过敏的，敏感的；易动感情的，易受感动的

参考例句：

• Children are more susceptible than adults.孩子比成人易受感动。
• We are all susceptible to advertising.我们都易受广告的影响。

124 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

125 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。

126 competence   

n.能力，胜任，称职

参考例句：

• This mess is a poor reflection on his competence.这种混乱情况说明他难当此任。
• These are matters within the competence of the court.这些是法院权限以内的事。

127 beguiling   

adj.欺骗的，诱人的v.欺骗( beguile的现在分词 )；使陶醉；使高兴；消磨（时间等）

参考例句：

• Her beauty was beguiling. 她美得迷人。
• His date was curvaceously beguiling. 他约会是用来欺骗女性的。 来自《简明英汉词典》

128 recording   

n.录音，记录

参考例句：

• How long will the recording of the song take?录下这首歌得花多少时间？
• I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。

129 embroiled   

adj.卷入的；纠缠不清的

参考例句：

• He became embroiled in a dispute with his neighbours. 他与邻居们发生了争执。
• John and Peter were quarrelling, but Mary refused to get embroiled. 约翰和彼得在争吵，但玛丽不愿卷入。 来自《简明英汉词典》

130 undue   

adj.过分的；不适当的；未到期的

参考例句：

• Don't treat the matter with undue haste.不要过急地处理此事。
• It would be wise not to give undue importance to his criticisms.最好不要过分看重他的批评。

131 repudiated   

v.（正式地）否认( repudiate的过去式和过去分词 )；拒绝接受；拒绝与…往来；拒不履行（法律义务）

参考例句：

• All slanders and libels should be repudiated. 一切诬蔑不实之词，应予推倒。 来自《现代汉英综合大词典》
• The Prime Minister has repudiated racist remarks made by a member of the Conservative Party. 首相已经驳斥了一个保守党成员的种族主义言论。 来自辞典例句

132 incurred   

[医]招致的，遭受的； incur的过去式

参考例句：

• She had incurred the wrath of her father by marrying without his consent 她未经父亲同意就结婚，使父亲震怒。
• We will reimburse any expenses incurred. 我们将付还所有相关费用。

133 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。

134 genial   

adj.亲切的，和蔼的，愉快的，脾气好的

参考例句：

• Orlando is a genial man.奥兰多是一位和蔼可亲的人。
• He was a warm-hearted friend and genial host.他是个热心的朋友，也是友善待客的主人。

135 dense   

a.密集的，稠密的，浓密的；密度大的

参考例句：

• The general ambushed his troops in the dense woods. 将军把部队埋伏在浓密的树林里。
• The path was completely covered by the dense foliage. 小路被树叶厚厚地盖了一层。

136 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》

137 exhaling   

v.呼出，发散出( exhale的现在分词 )；吐出（肺中的空气、烟等），呼气

参考例句：

• Take a deep breath inhaling slowly and exhaling slowly. 深呼吸，慢慢吸进，慢慢呼出。 来自互联网
• Unclasp your hands and return to the original position while exhaling. 呼气并松开双手恢复到原位。 来自互联网

138 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。

139 corrosive   

adj.腐蚀性的；有害的；恶毒的

参考例句：

• Many highly corrosive substances are used in the nuclear industry.核工业使用许多腐蚀性很强的物质。
• Many highly corrosive substances are used in the nuclear industry.核工业使用许多腐蚀性很强的物质。

140 induction   

n.感应，感应现象

参考例句：

• His induction as a teacher was a turning point in his life.他就任教师工作是他一生的转折点。
• The magnetic signals are sensed by induction coils.磁信号由感应线圈所检测。

141 attentive   

adj.注意的，专心的；关心(别人)的，殷勤的

参考例句：

• She was very attentive to her guests.她对客人招待得十分周到。
• The speaker likes to have an attentive audience.演讲者喜欢注意力集中的听众。

142 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。

143 conclusive   

adj.最后的，结论的；确凿的，消除怀疑的

参考例句：

• They produced some fairly conclusive evidence.他们提供了一些相当确凿的证据。
• Franklin did not believe that the French tests were conclusive.富兰克林不相信这个法国人的实验是结论性的。

144 undertaking   

n.保证，许诺，事业

参考例句：

• He gave her an undertaking that he would pay the money back with in a year.他向她做了一年内还钱的保证。
• He is too timid to venture upon an undertaking.他太胆小，不敢从事任何事业。

145 blessing   

n.祈神赐福；祷告；祝福，祝愿

参考例句：

• The blessing was said in Hebrew.祷告用了希伯来语。
• A double blessing has descended upon the house.双喜临门。

146 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。

147 pompous   

adj.傲慢的，自大的；夸大的；豪华的

参考例句：

• He was somewhat pompous and had a high opinion of his own capabilities.他有点自大，自视甚高。
• He is a good man underneath his pompous appearance. 他的外表虽傲慢，其实是个好人。

148 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。

149 forth   

adv.向前；向外，往外

参考例句：

• The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
• He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。

150 relegation   

n.驱逐，贬黜；降级

参考例句：

• Liaoning team lost this game, is still deeply avoid relegation zone. 辽宁队本场失利后，仍然深陷保级区。 来自互联网
• In society, relegation is based on your income. 社会上的规类是以你的收入为基准。 来自互联网

151 limbo   

n.地狱的边缘；监狱

参考例句：

• His life seemed stuck in limbo and he could not go forward and he could not go back.他的生活好像陷入了不知所措的境地，进退两难。
• I didn't know whether my family was alive or dead.I felt as if I was in limbo.我不知道家人是生是死，感觉自己茫然无措。

152 delusions   

n.欺骗( delusion的名词复数 )；谬见；错觉；妄想

参考例句：

• the delusions of the mentally ill 精神病患者的妄想
• She wants to travel first-class: she must have delusions of grandeur. 她想坐头等舱旅行，她一定自以为很了不起。 来自辞典例句

153 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。

154 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。

155 unity   

n.团结，联合，统一；和睦，协调

参考例句：

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

156 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。

157 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。

158 projector   

n.投影机，放映机，幻灯机

参考例句：

• There is a new projector in my office.我的办公室里有一架新的幻灯机。
• How long will it take to set up the projector?把这个放映机安放好需要多长时间？

159 tract   

n.传单，小册子，大片(土地或森林)

参考例句：

• He owns a large tract of forest.他拥有一大片森林。
• He wrote a tract on this subject.他曾对此写了一篇短文。

160 leakage   

n.漏，泄漏；泄漏物；漏出量

参考例句：

• Large areas of land have been contaminated by the leakage from the nuclear reactor.大片地区都被核反应堆的泄漏物污染了。
• The continuing leakage is the result of the long crack in the pipe.这根管子上的那一条裂缝致使渗漏不断。

161 derive   

v.取得；导出；引申；来自；源自；出自

参考例句：

• We derive our sustenance from the land.我们从土地获取食物。
• We shall derive much benefit from reading good novels.我们将从优秀小说中获得很大好处。

162 derivatives   

n.衍生性金融商品；派生物，引出物( derivative的名词复数 )；导数

参考例句：

• Many English words are derivatives of Latin words. 许多英语词来自拉丁语。 来自《简明英汉词典》
• These compounds are nitrosohydroxylamine derivatives. 这类合成物是亚硝基羟胺衍生物。 来自辞典例句

163 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。

164 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。

165 vessels   

n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人

参考例句：

• The river is navigable by vessels of up to 90 tons. 90 吨以下的船只可以从这条河通过。 来自《简明英汉词典》
• All modern vessels of any size are fitted with radar installations. 所有现代化船只都有雷达装置。 来自《现代汉英综合大词典》

166 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。

167 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。

168 fugitive   

adj.逃亡的，易逝的；n.逃犯，逃亡者

参考例句：

• The police were able to deduce where the fugitive was hiding.警方成功地推断出那逃亡者躲藏的地方。
• The fugitive is believed to be headed for the border.逃犯被认为在向国境线逃窜。

169 pacified   

使（某人）安静( pacify的过去式和过去分词 )； 息怒； 抚慰； 在（有战争的地区、国家等）实现和平

参考例句：

• The baby could not be pacified. 怎么也止不住婴儿的哭声。
• She shrieked again, refusing to be pacified. 她又尖叫了，无法使她平静下来。

170 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。

171 adventurous   

adj.爱冒险的；惊心动魄的，惊险的，刺激的　

参考例句：

• I was filled with envy at their adventurous lifestyle.我很羨慕他们敢于冒险的生活方式。
• He was predestined to lead an adventurous life.他注定要过冒险的生活。

172 chamber   

n.房间，寝室；会议厅；议院；会所

参考例句：

• For many,the dentist's surgery remains a torture chamber.对许多人来说，牙医的治疗室一直是间受刑室。
• The chamber was ablaze with light.会议厅里灯火辉煌。

173 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。

174 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。

175 densely   

ad.密集地；浓厚地

参考例句：

• A grove of trees shadowed the house densely. 树丛把这幢房子遮蔽得很密实。
• We passed through miles of densely wooded country. 我们穿过好几英里茂密的林地。

176 inscribes   

v.写，刻( inscribe的第三人称单数 )

参考例句：

• Final a fill a vacancy inscribes is such: 100 of 1 square. 期末考试，有一道填空题是这样的：1的一百次方。 来自互联网
• In Iceland the bountiful Kolgrima River inscribes the earth on its seaward path. 在冰岛，丰富Kolgrima河写上了其向海的道路地球。 来自互联网

177 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。

178 recitals   

n.独唱会( recital的名词复数 )；独奏会；小型音乐会、舞蹈表演会等；一系列事件等的详述

参考例句：

• His recitals have earned him recognition as a talented performer. 他的演奏会使他赢得了天才演奏家的赞誉。 来自《简明英汉词典》
• Her teachers love her playing, and encourage her to recitals. 她的老师欣赏她的演奏，并鼓励她举办独奏会。 来自互联网

179 recital   

n.朗诵，独奏会，独唱会

参考例句：

• She is going to give a piano recital.她即将举行钢琴独奏会。
• I had their total attention during the thirty-five minutes that my recital took.在我叙述的35分钟内，他们完全被我吸引了。

180 quarried   

v.从采石场采得( quarry的过去式和过去分词 )；从（书本等中）努力发掘（资料等）；在采石场采石

参考例句：

• The workmen quarried out a huge block of marble. 工人们从采石场采得一块很大的大理石。 来自《简明英汉词典》
• The large limestone caves are also quarried for cement. 同时还在这些大石灰岩洞里开采水泥原料。 来自辞典例句

181 rubble   

n.（一堆）碎石，瓦砾

参考例句：

• After the earthquake,it took months to clean up the rubble.地震后，花了数月才清理完瓦砾。
• After the war many cities were full of rubble.战后许多城市到处可见颓垣残壁。

182 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。

183 constituents   

n.选民( constituent的名词复数 )；成分；构成部分；要素

参考例句：

• She has the full support of her constituents. 她得到本区选民的全力支持。
• Hydrogen and oxygen are the constituents of water. 氢和氧是水的主要成分。 来自《简明英汉词典》

184 perusal   

n.细读，熟读；目测

参考例句：

• Peter Cooke undertook to send each of us a sample contract for perusal.彼得·库克答应给我们每人寄送一份合同样本供阅读。
• A perusal of the letters which we have published has satisfied him of the reality of our claim.读了我们的公开信后，他终于相信我们的要求的确是真的。

185 varied   

adj.多样的，多变化的

参考例句：

• The forms of art are many and varied.艺术的形式是多种多样的。
• The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。

186 aggregation   

n.聚合，组合；凝聚

参考例句：

• A high polymer is a very large aggregation of units.一个高聚物是许多单元的非常大的组合。
• Moreover,aggregation influences the outcome of chemical disinfection of viruses.此外，聚集作用还会影响化学消毒的效果。

187 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。

188 postponement   

n.推迟

参考例句：

• He compounded with his creditors for a postponement of payment. 他与债权人达成协议延期付款。
• Rain caused the postponement of several race-meetings. 几次赛马大会因雨延期。

189 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。

190 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。

191 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。

192 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。

193 abjectly   

凄惨地； 绝望地； 糟透地； 悲惨地

参考例句：

• She shrugged her shoulders abjectly. 她无可奈何地耸了耸肩。
• Xiao Li is abjectly obedient at home, as both his wife and daughter can "direct" him. 小李在家里可是个听话的顺民，妻子女儿都能“领导”他。

194 literally   

adv.照字面意义，逐字地；确实

参考例句：

• He translated the passage literally.他逐字逐句地翻译这段文字。
• Sometimes she would not sit down till she was literally faint.有时候，她不走到真正要昏厥了，决不肯坐下来。

195 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。

196 strictly   

adv.严厉地，严格地；严密地

参考例句：

• His doctor is dieting him strictly.他的医生严格规定他的饮食。
• The guests were seated strictly in order of precedence.客人严格按照地位高低就座。

197 delightful   

adj.令人高兴的，使人快乐的

参考例句：

• We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
• Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。

198 delightfully   

大喜，欣然

参考例句：

• The room is delightfully appointed. 这房子的设备令人舒适愉快。 来自《现代汉英综合大词典》
• The evening is delightfully cool. 晚间凉爽宜人。 来自《现代汉英综合大词典》

199 inveterately   

adv.根深蒂固地，积习地

参考例句：

200 swarmed   

密集( swarm的过去式和过去分词 )； 云集； 成群地移动； 蜜蜂或其他飞行昆虫成群地飞来飞去

参考例句：

• When the bell rang, the children swarmed out of the school. 铃声一响，孩子们蜂拥而出离开了学校。
• When the rain started the crowd swarmed back into the hotel. 雨一开始下，人群就蜂拥回了旅社。

201 bluffing   

n. 威吓，唬人 动词bluff的现在分词形式

参考例句：

• I don't think he'll shoot—I think he's just bluffing. 我认为他不会开枪—我想他不过是在吓唬人。
• He says he'll win the race, but he's only bluffing. 他说他会赢得这场比赛，事实上只是在吹牛。

202 bluff   

v.虚张声势，用假象骗人；n.虚张声势，欺骗

参考例句：

• His threats are merely bluff.他的威胁仅仅是虚张声势。
• John is a deep card.No one can bluff him easily.约翰是个机灵鬼。谁也不容易欺骗他。

203 vivacity   

n.快活，活泼，精神充沛

参考例句：

• Her charm resides in her vivacity.她的魅力存在于她的活泼。
• He was charmed by her vivacity and high spirits.她的活泼与兴高采烈的情绪把他迷住了。

204 intelligibly   

adv.可理解地，明了地，清晰地

参考例句：

• The foreigner spoke to us quite intelligibly. 这个外国人对我们讲的话理解很好。 来自《简明英汉词典》
• Logically or intelligibly ordered or presented; coherent. 有逻辑或理性地排列或表现的；协调的。 来自互联网

205 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。

206 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。

207 wince   

n.畏缩，退避，（因痛苦，苦恼等)面部肌肉抽动；v.畏缩，退缩，退避

参考例句：

• The barb of his wit made us wince.他那锋芒毕露的机智使我们退避三舍。
• His smile soon modified to a wince.他的微笑很快就成了脸部肌肉的抽搐。

208 gratuitous   

adj.无偿的，免费的；无缘无故的，不必要的

参考例句：

• His criticism is quite gratuitous.他的批评完全没有根据。
• There's too much crime and gratuitous violence on TV.电视里充斥着犯罪和无端的暴力。

209 mechanism   

n.机械装置；机构，结构

参考例句：

• The bones and muscles are parts of the mechanism of the body.骨骼和肌肉是人体的组成部件。
• The mechanism of the machine is very complicated.这台机器的结构是非常复杂的。

210 profane   

adj.亵神的，亵渎的；vt.亵渎，玷污

参考例句：

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

211 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。

212 mortification   

n.耻辱，屈辱

参考例句：

• To my mortification, my manuscript was rejected. 使我感到失面子的是：我的稿件被退了回来。
• The chairman tried to disguise his mortification. 主席试图掩饰自己的窘迫。

213 ostensible   

adj.(指理由)表面的，假装的

参考例句：

• The ostensible reason wasn't the real reason.表面上的理由并不是真正的理由。
• He resigned secretaryship on the ostensible ground of health.他借口身体不好，辞去书记的职务。

214 encompassed   

v.围绕( encompass的过去式和过去分词 )；包围；包含；包括

参考例句：

• The enemy encompassed the city. 敌人包围了城市。 来自《简明英汉词典》
• I have encompassed him with every protection. 我已经把他保护得严严实实。 来自英汉文学 - 双城记

215 miscarriage   

n.失败，未达到预期的结果；流产

参考例句：

• The miscarriage of our plans was a great blow.计划的失败给我们以巨大的打击。
• Women who smoke are more to have a miscarriage.女性吸烟者更容易流产。

216 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》

217 invoke   

v.求助于(神、法律)；恳求，乞求

参考例句：

• Let us invoke the blessings of peace.让我们祈求和平之福。
• I hope I'll never have to invoke this clause and lodge a claim with you.我希望我永远不会使用这个条款向你们索赔。

218 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。

219 trifling   

adj.微不足道的；没什么价值的

参考例句：

• They quarreled over a trifling matter.他们为这种微不足道的事情争吵。
• So far Europe has no doubt, gained a real conveniency,though surely a very trifling one.直到现在为止,欧洲无疑地已经获得了实在的便利，不过那确是一种微不足道的便利。

220 incorrigible   

adj.难以纠正的，屡教不改的

参考例句：

• Because he was an incorrigible criminal,he was sentenced to life imprisonment.他是一个死不悔改的罪犯，因此被判终生监禁。
• Gamblers are incorrigible optimists.嗜赌的人是死不悔改的乐天派。

221 levity   

n.轻率，轻浮，不稳定，多变

参考例句：

• His remarks injected a note of levity into the proceedings.他的话将一丝轻率带入了议事过程中。
• At the time,Arnold had disapproved of such levity.那时候的阿诺德对这种轻浮行为很看不惯。

222 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。

223 proceedings   

n.进程，过程，议程；诉讼(程序)；公报

参考例句：

• He was released on bail pending committal proceedings. 他交保获释正在候审。
• to initiate legal proceedings against sb 对某人提起诉讼

224 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。

225 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。

226 complexion   

n.肤色；情况，局面；气质，性格

参考例句：

• Red does not suit with her complexion.红色与她的肤色不协调。
• Her resignation puts a different complexion on things.她一辞职局面就全变了。

227 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。

228 disposition   

n.性情，性格；意向，倾向；排列，部署

参考例句：

• He has made a good disposition of his property.他已对财产作了妥善处理。
• He has a cheerful disposition.他性情开朗。

229 pessimism   

n.悲观者，悲观主义者，厌世者

参考例句：

• He displayed his usual pessimism.他流露出惯有的悲观。
• There is the note of pessimism in his writings.他的著作带有悲观色彩。

230 tiresome   

adj.令人疲劳的，令人厌倦的

参考例句：

• His doubts and hesitations were tiresome.他的疑惑和犹豫令人厌烦。
• He was tiresome in contending for the value of his own labors.他老为他自己劳动的价值而争强斗胜，令人生厌。

231 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。

232 wrought   

v.引起；以…原料制作；运转；adj.制造的

参考例句：

• Events in Paris wrought a change in British opinion towards France and Germany.巴黎发生的事件改变了英国对法国和德国的看法。
• It's a walking stick with a gold head wrought in the form of a flower.那是一个金质花形包头的拐杖。

233 bustle   

v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹

参考例句：

• The bustle and din gradually faded to silence as night advanced.随着夜越来越深，喧闹声逐渐沉寂。
• There is a lot of hustle and bustle in the railway station.火车站里非常拥挤。

234 presumptuous   

adj.胆大妄为的，放肆的，冒昧的，冒失的

参考例句：

• It would be presumptuous for anybody to offer such a view.任何人提出这种观点都是太放肆了。
• It was presumptuous of him to take charge.他自拿主张，太放肆了。

235 notch   

n.(V字形)槽口，缺口，等级

参考例句：

• The peanuts they grow are top-notch.他们种的花生是拔尖的。
• He cut a notch in the stick with a sharp knife.他用利刃在棒上刻了一个凹痕。

236 probity   

n.刚直；廉洁，正直

参考例句：

• Probity and purity will command respect everywhere.为人正派到处受人尊敬。
• Her probity and integrity are beyond question.她的诚实和正直是无可争辩的。

237 amenities   

n.令人愉快的事物；礼仪；礼节；便利设施；礼仪( amenity的名词复数 )；便利设施；（环境等的）舒适；（性情等的）愉快

参考例句：

• The campsite is close to all local amenities. 营地紧靠当地所有的便利设施。
• Parks and a theatre are just some of the town's local amenities. 公园和戏院只是市镇娱乐设施的一部分。 来自《简明英汉词典》

238 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。

239 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！

240 multiplication   

n.增加，增多，倍增；增殖，繁殖；乘法

参考例句：

• Our teacher used to drum our multiplication tables into us.我们老师过去老是让我们反覆背诵乘法表。
• The multiplication of numbers has made our club building too small.会员的增加使得我们的俱乐部拥挤不堪。

241 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。

242 persistent   

adj.坚持不懈的，执意的；持续的

参考例句：

• Albert had a persistent headache that lasted for three days.艾伯特连续头痛了三天。
• She felt embarrassed by his persistent attentions.他不时地向她大献殷勤，使她很难为情。

243 simile   

n.直喻，明喻

参考例句：

• I believe this simile largely speaks the truth.我相信这种比拟在很大程度上道出了真实。
• It is a trite simile to compare her teeth to pearls.把她的牙齿比做珍珠是陈腐的比喻。

244 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。

245 reiterate   

v.重申，反复地说

参考例句：

• Let me reiterate that we have absolutely no plans to increase taxation.让我再一次重申我们绝对没有增税的计划。
• I must reiterate that our position on this issue is very clear.我必须重申我们对这一项议题的立场很清楚。

246 reiterated   

反复地说，重申( reiterate的过去式和过去分词 )

参考例句：

• "Well, I want to know about it,'she reiterated. “嗯，我一定要知道你的休假日期，"她重复说。 来自英汉文学 - 嘉莉妹妹
• Some twenty-two years later President Polk reiterated and elaborated upon these principles. 大约二十二年之后，波尔克总统重申这些原则并且刻意阐释一番。

247 aspiring   

adj.有志气的；有抱负的；高耸的v.渴望；追求

参考例句：

• Aspiring musicians need hours of practice every day. 想当音乐家就要每天练许多小时。
• He came from an aspiring working-class background. 他出身于有抱负的工人阶级家庭。 来自辞典例句

248 reeks   

n.恶臭( reek的名词复数 )v.发出浓烈的臭气( reek的第三人称单数 )；散发臭气；发出难闻的气味 (of sth)；明显带有（令人不快或生疑的跡象）

参考例句：

• His statement reeks of hypocrisy. 他的话显然很虛伪。 来自《简明英汉词典》
• His manner reeks prosperity. 他的态度表现得好象有钱的样子。 来自《现代英汉综合大词典》

249 exuberance   

n.丰富；繁荣

参考例句：

• Her burst of exuberance and her brightness overwhelmed me.她勃发的热情和阳光的性格征服了我。
• The sheer exuberance of the sculpture was exhilarating.那尊雕塑表现出的勃勃生机让人振奋。

250 voracious   

adj.狼吞虎咽的，贪婪的

参考例句：

• She's a voracious reader of all kinds of love stories.什么样的爱情故事她都百看不厌。
• Joseph Smith was a voracious book collector.约瑟夫·史密斯是个如饥似渴的藏书家。

251 Oxford   

n.牛津（英国城市）

参考例句：

• At present he has become a Professor of Chemistry at Oxford.他现在已是牛津大学的化学教授了。
• This is where the road to Oxford joins the road to London.这是去牛津的路与去伦敦的路的汇合处。

252 obstructions   

n.障碍物( obstruction的名词复数 )；阻碍物；阻碍；阻挠

参考例句：

• The absence of obstructions is of course an idealization. 没有障碍物的情况当然是一种理想化的情况。 来自辞典例句
• These obstructions could take some weeks to clear from these canals. 这些障碍物可能要花几周时间才能从运河中清除掉。 来自辞典例句

253 intoxicated   

喝醉的，极其兴奋的

参考例句：

• She was intoxicated with success. 她为成功所陶醉。
• They became deeply intoxicated and totally disoriented. 他们酩酊大醉，东南西北全然不辨。

254 fumes   

n.(强烈而刺激的)气味，气体

参考例句：

• The health of our children is being endangered by exhaust fumes. 我们孩子们的健康正受到排放出的废气的损害。
• Exhaust fumes are bad for your health. 废气对健康有害。

255 juvenility   

n.年轻，不成熟

参考例句：

• Juvenility cofactors have been identified as terpenes. 幼年辅助因子已经鉴定出是萜类化学物。 来自辞典例句
• Juvenility confactors have been identified as terpenes. 幼年辅助激素已经鉴定出是萜类化学物。 来自辞典例句

256 concussion   

n.脑震荡；震动

参考例句：

• He was carried off the field with slight concussion.他因轻微脑震荡给抬离了现场。
• She suffers from brain concussion.她得了脑震荡。

257 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。

258 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。

259 virgin   

n.处女，未婚女子；adj.未经使用的；未经开发的

参考例句：

• Have you ever been to a virgin forest?你去过原始森林吗？
• There are vast expanses of virgin land in the remote regions.在边远地区有大片大片未开垦的土地。

260 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。

261 imprint   

n.印痕，痕迹；深刻的印象；vt.压印，牢记

参考例句：

• That dictionary is published under the Longman imprint.那本词典以朗曼公司的名义出版。
• Her speech left its imprint on me.她的演讲给我留下了深刻印象。

262 descends   

v.下来( descend的第三人称单数 )；下去；下降；下斜

参考例句：

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

263 refreshment   

n.恢复，精神爽快，提神之事物；（复数）refreshments:点心，茶点

参考例句：

• He needs to stop fairly often for refreshment.他须时不时地停下来喘口气。
• A hot bath is a great refreshment after a day's work.在一天工作之后洗个热水澡真是舒畅。

264 repletion   

n.充满，吃饱

参考例句：

• It is better to die of repletion than to endure hunger.饱死胜过挨饿。
• A baby vomits milk from repletion.婴儿吃饱会吐奶。

265 devoured   

吞没( devour的过去式和过去分词 )； 耗尽； 津津有味地看； 狼吞虎咽地吃光

参考例句：

• She devoured everything she could lay her hands on: books, magazines and newspapers. 无论是书、杂志，还是报纸，只要能弄得到，她都看得津津有味。
• The lions devoured a zebra in a short time. 狮子一会儿就吃掉了一匹斑马。

266 viands   

n.食品，食物

参考例句：

• Greek slaves supplied them with exquisite viands at the slightest nod.只要他们轻轻点点头希腊奴隶就会供奉给他们精美的食品。
• The family sat down to table,and a frugal meal of cold viands was deposited beforethem.一家老少，都围着桌子坐下，几样简单的冷食，摆在他们面前。

267 amorphous   

adj.无定形的

参考例句：

• There was a weakening of the intermolecular bonds,primarily in the amorphous region of the polymer.分子间键合减弱，尤其在聚合物的无定形区内更为明显。
• It is an amorphous colorless or white powder.它是一种无定形的无色或白色粉末。

268 chunk   

n.厚片，大块，相当大的部分（数量）

参考例句：

• They had to be careful of floating chunks of ice.他们必须当心大块浮冰。
• The company owns a chunk of farmland near Gatwick Airport.该公司拥有盖特威克机场周边的大片农田。

269 naught   

n.无，零 [=nought]

参考例句：

• He sets at naught every convention of society.他轻视所有的社会习俗。
• I hope that all your efforts won't go for naught.我希望你的努力不会毫无结果。

270 excision   

n.删掉；除去

参考例句：

• The excision of the clause has been decided.已经决定删除这个条款。
• Complete excision is a curative treatment.完全切除是唯一有效的治疗方式。

271 adoption   

n.采用，采纳，通过；收养

参考例句：

• An adoption agency had sent the boys to two different families.一个收养机构把他们送给两个不同的家庭。
• The adoption of this policy would relieve them of a tremendous burden.采取这一政策会给他们解除一个巨大的负担。

272 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》

273 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。

274 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。

275 specimens   

n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人

参考例句：

• Astronauts have brought back specimens of rock from the moon. 宇航员从月球带回了岩石标本。
• The traveler brought back some specimens of the rocks from the mountains. 那位旅行者从山上带回了一些岩石标本。 来自《简明英汉词典》

276 beset   

v.镶嵌；困扰，包围

参考例句：

• She wanted to enjoy her retirement without being beset by financial worries.她想享受退休生活而不必为金钱担忧。
• The plan was beset with difficulties from the beginning.这项计划自开始就困难重重。

277 avert   

v.防止，避免；转移(目光、注意力等)

参考例句：

• He managed to avert suspicion.他设法避嫌。
• I would do what I could to avert it.我会尽力去避免发生这种情况。

278 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。

279 profess   

v.声称，冒称，以...为业，正式接受入教，表明信仰

参考例句：

• I profess that I was surprised at the news.我承认这消息使我惊讶。
• What religion does he profess?他信仰哪种宗教？

280 starkest   

（指区别）明显的( stark的最高级 )； 完全的； 了无修饰的； 僵硬的

参考例句：

• Among the starkest-and the most worrying-have been measures of world trade. 而最典型也是最让人担心的是世界贸易的方式。
• Climate change and the depleted ozone layer are among the starkest examples. 气候变化和臭氧层耗减就是其中最明显的例子。

281 crudity   

n.粗糙，生硬；adj.粗略的

参考例句：

• I'd never met such crudity before.我从未见过这样粗鲁的行径。
• Birthplace data are only the crudest indicator of actual migration paths.出生地信息只能非常粗略地显示实际移民过程。

282 wayfarer   

n.旅人

参考例句：

• You are the solitary wayfarer in this deserted street.在这冷寂的街上，你是孤独的行人。
• The thirsty wayfarer was glad to find a fresh spring near the road.口渴的徒步旅行者很高兴在路边找到新鲜的泉水。

283 alley   

n.小巷，胡同；小径，小路

参考例句：

• We live in the same alley.我们住在同一条小巷里。
• The blind alley ended in a brick wall.这条死胡同的尽头是砖墙。

284 postponed   

vt.& vi.延期，缓办，（使）延迟vt.把…放在次要地位；[语]把…放在后面（或句尾）vi.（疟疾等）延缓发作（或复发）

参考例句：

• The trial was postponed indefinitely. 审讯无限期延迟。
• The game has already been postponed three times. 这场比赛已经三度延期了。

285 complicate   

vt.使复杂化，使混乱，使难懂

参考例句：

• There is no need to complicate matters.没有必要使问题复杂化。
• These events will greatly complicate the situation.这些事件将使局势变得极其复杂。

286 choirs   

n.教堂的唱诗班( choir的名词复数 )；唱诗队；公开表演的合唱团；（教堂）唱经楼

参考例句：

• They ran the three churches to which they belonged, the clergy, the choirs and the parishioners. 她们管理着自己所属的那三家教堂、牧师、唱诗班和教区居民。 来自飘（部分）
• Since 1935, several village choirs skilled in this music have been created. 1935以来，数支熟练掌握这种音乐的乡村唱诗班相继建立起来。 来自互联网

287 heeded   

v.听某人的劝告，听从( heed的过去式和过去分词 )；变平，使（某物）变平( flatten的过去式和过去分词 )

参考例句：

• She countered that her advice had not been heeded. 她反驳说她的建议未被重视。 来自《简明英汉词典》
• I heeded my doctor's advice and stopped smoking. 我听从医生的劝告，把烟戒了。 来自《简明英汉词典》

288 admonish   

v.训戒；警告；劝告

参考例句：

• I will tactfully admonish him not to behave like this again.我会婉转的规诫他不要再这样做。
• Admonish your friends privately,but praise them openly.要私下告戒朋友，但是要公开夸奖朋友。

289 rummage   

v./n.翻寻，仔细检查

参考例句：

• He had a good rummage inside the sofa.他把沙发内部彻底搜寻了一翻。
• The old lady began to rummage in her pocket for her spectacles.老太太开始在口袋里摸索，找她的眼镜。

290 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。

291 precedent   

n.先例，前例；惯例；adj.在前的，在先的

参考例句：

• Is there a precedent for what you want me to do?你要我做的事有前例可援吗？
• This is a wonderful achievement without precedent in Chinese history.这是中国历史上亘古未有的奇绩。

292 votary   

n.崇拜者；爱好者；adj.誓约的，立誓任圣职的

参考例句：

• He was a votary of golf.他是高尔夫球忠实信徒。
• Akshay Babu,who had made the passion in English literature living to us,was himself a votary of the emotional life.阿卡什先生，这位使我们逼真地感到英国文学强烈情感的人，他自己就是一个性情中人。

293 accredited   

adj.可接受的；可信任的；公认的；质量合格的v.相信( accredit的过去式和过去分词 )；委托；委任；把…归结于

参考例句：

• The discovery of distillation is usually accredited to the Arabs of the 11th century. 通常认为，蒸馏法是阿拉伯人在11世纪发明的。
• Only accredited journalists were allowed entry. 只有正式认可的记者才获准入内。

294 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。

295 prodigious   

adj.惊人的，奇妙的；异常的；巨大的；庞大的

参考例句：

• This business generates cash in prodigious amounts.这种业务收益丰厚。
• He impressed all who met him with his prodigious memory.他惊人的记忆力让所有见过他的人都印象深刻。

296 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。

297 futile   

adj.无效的，无用的，无希望的

参考例句：

• They were killed,to the last man,in a futile attack.因为进攻失败，他们全部被杀，无一幸免。
• Their efforts to revive him were futile.他们对他抢救无效。

298 attested   

adj.经检验证明无病的，经检验证明无菌的v.证明( attest的过去式和过去分词 )；证实；声称…属实；使宣誓

参考例句：

• The handwriting expert attested to the genuineness of the signature. 笔迹专家作证该签名无讹。 来自《现代英汉综合大词典》
• Witnesses attested his account. 几名证人都证实了他的陈述是真实的。 来自《简明英汉词典》

299 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。

300 diverge   

v.分叉，分歧，离题，使...岔开，使转向

参考例句：

• This is where our opinions diverge from each other.这就是我们意见产生分歧之处。
• Don't diverge in your speech.发言不要离题。

301 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。

302 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。

303 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。

304 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。

305 prodigy   

n.惊人的事物，奇迹，神童，天才，预兆

参考例句：

• She was a child prodigy on the violin.她是神童小提琴手。
• He was always a Negro prodigy who played barbarously and wonderfully.他始终是一个黑人的奇才，这种奇才弹奏起来粗野而惊人。

306 authenticity   

n.真实性

参考例句：

• There has been some debate over the authenticity of his will. 对于他的遗嘱的真实性一直有争论。
• The museum is seeking an expert opinion on the authenticity of the painting. 博物馆在请专家鉴定那幅画的真伪。

307 precursor   

n.先驱者；前辈；前任；预兆；先兆

参考例句：

• Error is often the precursor of what is correct.错误常常是正确的先导。
• He said that the deal should not be seen as a precursor to a merger.他说该笔交易不应该被看作是合并的前兆。

308 circumferential   

圆周的

参考例句：

• The radial displacement must be accompanied by a circumferential force. 径向位移必须伴有圆周力。
• Burns that are circumferential are difficult to position. 环形烧伤的体位很难确定。

309 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。

310 impersonal   

adj.无个人感情的，与个人无关的，非人称的

参考例句：

• Even his children found him strangely distant and impersonal.他的孩子们也认为他跟其他人很疏远，没有人情味。
• His manner seemed rather stiff and impersonal.他的态度似乎很生硬冷淡。

311 omniscience   

n.全知，全知者，上帝

参考例句：

• Omniscience is impossible, but we be ready at all times, constantly studied. 无所不知是不可能，但我们应该时刻准备着，不断地进修学习。 来自互联网
• Thus, the argument concludes that omniscience and omnipotence are logically incompatible. 因此，争论断定那个上帝和全能是逻辑地不兼容的。 来自互联网

312 hovering   

鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫

参考例句：

• The helicopter was hovering about 100 metres above the pad. 直升机在离发射台一百米的上空盘旋。
• I'm hovering between the concert and the play tonight. 我犹豫不决今晚是听音乐会还是看戏。

313 subjective   

a.主观(上)的，个人的

参考例句：

• The way they interpreted their past was highly subjective. 他们解释其过去的方式太主观。
• A literary critic should not be too subjective in his approach. 文学评论家的看法不应太主观。

314 eventual   

adj.最后的，结局的，最终的

参考例句：

• Several schools face eventual closure.几所学校面临最终关闭。
• Both parties expressed optimism about an eventual solution.双方对问题的最终解决都表示乐观。

315 eccentricities   

n.古怪行为( eccentricity的名词复数 )；反常；怪癖

参考例句：

• My wife has many eccentricities. 我妻子有很多怪癖。 来自《简明英汉词典》
• His eccentricities had earned for him the nickname"The Madman". 他的怪癖已使他得到'疯子'的绰号。 来自辞典例句

316 desperately   

adv.极度渴望地，绝望地，孤注一掷地

参考例句：

• He was desperately seeking a way to see her again.他正拼命想办法再见她一面。
• He longed desperately to be back at home.他非常渴望回家。

317 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。

318 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。

319 diffused   

散布的，普及的，扩散的

参考例句：

• A drop of milk diffused in the water. 一滴牛奶在水中扩散开来。
• Gases and liquids diffused. 气体和液体慢慢混合了。

320 condoned   

v.容忍，宽恕，原谅( condone的过去式和过去分词 )

参考例句：

• Terrorism can never be condoned. 决不能容忍恐怖主义。
• They condoned his sins because he repented. 由于他的悔悟，他们宽恕了他的罪。 来自辞典例句

321 bribe   

n.贿赂；v.向…行贿，买通

参考例句：

• He tried to bribe the policeman not to arrest him.他企图贿赂警察不逮捕他。
• He resolutely refused their bribe.他坚决不接受他们的贿赂。

322 dissimulated   

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

参考例句：

323 humiliation   

n.羞辱

参考例句：

• He suffered the humiliation of being forced to ask for his cards.他蒙受了被迫要求辞职的羞辱。
• He will wish to revenge his humiliation in last Season's Final.他会为在上个季度的决赛中所受的耻辱而报复的。

324 fumbled   

（笨拙地）摸索或处理（某事物）( fumble的过去式和过去分词 )； 乱摸，笨拙地弄； 使落下

参考例句：

• She fumbled in her pocket for a handkerchief. 她在她口袋里胡乱摸找手帕。
• He fumbled about in his pockets for the ticket. 他（瞎）摸着衣兜找票。

325 fumbling   

n. 摸索,漏接 v. 摸索,摸弄,笨拙的处理

参考例句：

• If he actually managed to the ball instead of fumbling it with an off-balance shot. 如果他实际上设法拿好球而不是fumbling它。50-balance射击笨拙地和迅速地会开始他的岗位移动，经常这样结束。
• If he actually managed to secure the ball instead of fumbling it awkwardly an off-balance shot. 如果他实际上设法拿好球而不是fumbling它。50-50提议有时。他从off-balance射击笨拙地和迅速地会开始他的岗位移动，经常这样结束。

326 behold   

v.看，注视，看到

参考例句：

• The industry of these little ants is wonderful to behold.这些小蚂蚁辛勤劳动的样子看上去真令人惊叹。
• The sunrise at the seaside was quite a sight to behold.海滨日出真是个奇景。

327 discomfort   

n.不舒服，不安，难过，困难，不方便

参考例句：

• One has to bear a little discomfort while travelling.旅行中总要忍受一点不便。
• She turned red with discomfort when the teacher spoke.老师讲话时她不好意思地红着脸。

328 conjured   

用魔术变出( conjure的过去式和过去分词 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现

参考例句：

• He conjured them with his dying breath to look after his children. 他临终时恳求他们照顾他的孩子。
• His very funny joke soon conjured my anger away. 他讲了个十分有趣的笑话，使得我的怒气顿消。

329 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。

330 machinery   

n.(总称)机械，机器；机构

参考例句：

• Has the machinery been put up ready for the broadcast?广播器材安装完毕了吗？
• Machinery ought to be well maintained all the time.机器应该随时注意维护。

331 improvised   

a.即席而作的,即兴的

参考例句：

• He improvised a song about the football team's victory. 他即席创作了一首足球队胜利之歌。
• We improvised a tent out of two blankets and some long poles. 我们用两条毛毯和几根长竿搭成一个临时帐蓬。

332 extinction   

n.熄灭，消亡，消灭，灭绝，绝种

参考例句：

• The plant is now in danger of extinction.这种植物现在有绝种的危险。
• The island's way of life is doomed to extinction.这个岛上的生活方式注定要消失。

333 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。

334 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。

335 diffusing   

（使光）模糊，漫射，漫散( diffuse的现在分词 )； （使）扩散； （使）弥漫； （使）传播

参考例句：

• Compounding this confusion is a diffusing definition of journalist. 新闻和娱乐的掺和扩散了“记者”定义。
• Diffusing phenomena also so, after mix cannot spontaneous separating. 扩散现象也如此，混合之后不能自发的分开。

336 sociability   

n.好交际，社交性，善于交际

参考例句：

• A fire of withered pine boughs added sociability to the gathering. 枯松枝生起的篝火给这次聚合增添了随和、友善的气氛。 来自辞典例句
• A certain sociability degree is a specific character of most plants. 特定的群集度是多数植物特有的特征。 来自辞典例句

337 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。

338 verbiage   

n.冗词；冗长

参考例句：

• Stripped of their pretentious verbiage,his statements come dangerously close to inviting racial hatred.抛开那些夸大其词的冗词赘语不论，他的言论有挑起种族仇恨的危险。
• Even in little 140-character bites,that's a lot of verbiage.即使限制在一条140个字也有很大一部分是废话。

339 deluge   

n./vt.洪水，暴雨，使泛滥

参考例句：

• This little stream can become a deluge when it rains heavily.雨大的时候，这条小溪能变作洪流。
• I got caught in the deluge on the way home.我在回家的路上遇到倾盆大雨。

340 preposterous   

adj.荒谬的，可笑的

参考例句：

• The whole idea was preposterous.整个想法都荒唐透顶。
• It would be preposterous to shovel coal with a teaspoon.用茶匙铲煤是荒谬的。

341 fatuous   

adj.愚昧的；昏庸的

参考例句：

• He seems to get pride in fatuous remarks.说起这番蠢话来他似乎还挺得意。
• After his boring speech for over an hour,fatuous speaker waited for applause from the audience.经过超过一小时的烦闷的演讲，那个愚昧的演讲者还等着观众的掌声。

342 acquit   

vt.宣判无罪；(oneself)使(自己)表现出

参考例句：

• That fact decided the judge to acquit him.那个事实使法官判他无罪。
• They always acquit themselves of their duty very well.他们总是很好地履行自己的职责。

343 structural   

adj.构造的，组织的，建筑（用）的

参考例句：

• The storm caused no structural damage.风暴没有造成建筑结构方面的破坏。
• The North American continent is made up of three great structural entities.北美大陆是由三个构造单元组成的。

344 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。

345 valid   

adj.有确实根据的；有效的；正当的，合法的

参考例句：

• His claim to own the house is valid.他主张对此屋的所有权有效。
• Do you have valid reasons for your absence?你的缺席有正当理由吗？

346 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。

347 distinguished   

adj.卓越的，杰出的，著名的

参考例句：

• Elephants are distinguished from other animals by their long noses.大象以其长长的鼻子显示出与其他动物的不同。
• A banquet was given in honor of the distinguished guests.宴会是为了向贵宾们致敬而举行的。

348 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。

349 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。

350 colloquy   

n.谈话，自由讨论

参考例句：

• The colloquy between them was brief.他们之间的对话很简洁。
• They entered into eager colloquy with each other.他们展开热切的相互交谈。

351 dangling   

悬吊着( dangle的现在分词 )； 摆动不定； 用某事物诱惑…； 吊胃口

参考例句：

• The tooth hung dangling by the bedpost, now. 结果，那颗牙就晃来晃去吊在床柱上了。
• The children sat on the high wall,their legs dangling. 孩子们坐在一堵高墙上，摇晃着他们的双腿。

352 strings   

n.弦

参考例句：

• He sat on the bed,idly plucking the strings of his guitar.他坐在床上，随意地拨着吉他的弦。
• She swept her fingers over the strings of the harp.她用手指划过竖琴的琴弦。

353 porcupine   

n.豪猪， 箭猪

参考例句：

• A porcupine is covered with prickles.箭猪身上长满了刺。
• There is a philosophy parable,call philosophy of porcupine.有一个哲学寓言，叫豪猪的哲学。

354 bristles   

短而硬的毛发，刷子毛( bristle的名词复数 )

参考例句：

• the bristles on his chin 他下巴上的胡楂子
• This job bristles with difficulties. 这项工作困难重重。

355 abstain   

v.自制，戒绝，弃权，避免

参考例句：

• His doctor ordered him to abstain from beer and wine.他的医生嘱咐他戒酒。
• Three Conservative MPs abstained in the vote.三位保守党下院议员投了弃权票。

356 specifying   

v.指定( specify的现在分词 )；详述；提出…的条件；使具有特性

参考例句：

• When we describe what the action will affect, we are specifying the noun of the sentence. 当描述动作会影响到什么时，我们指定组成句子的名词。 来自About Face 3交互设计精髓
• Procurement section only lists opportunistic infection drugs without specifying which drugs. 采购部分只说明有治疗机会性感染的药物，但并没有说明是什么药物。 来自互联网

357 reluctance   

n.厌恶，讨厌，勉强，不情愿

参考例句：

• The police released Andrew with reluctance.警方勉强把安德鲁放走了。
• He showed the greatest reluctance to make a reply.他表示很不愿意答复。

358 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。

359 motive   

n.动机，目的；adv.发动的，运动的

参考例句：

• The police could not find a motive for the murder.警察不能找到谋杀的动机。
• He had some motive in telling this fable.他讲这寓言故事是有用意的。

360 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。

361 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。

362 eminent   

adj.显赫的，杰出的，有名的，优良的

参考例句：

• We are expecting the arrival of an eminent scientist.我们正期待一位著名科学家的来访。
• He is an eminent citizen of China.他是一个杰出的中国公民。

363 tonic   

n./adj.滋补品，补药，强身的，健体的

参考例句：

• It will be marketed as a tonic for the elderly.这将作为老年人滋补品在市场上销售。
• Sea air is Nature's best tonic for mind and body.海上的空气是大自然赋予的对人们身心的最佳补品。

364 emergence   

n.浮现，显现，出现，（植物）突出体

参考例句：

• The last decade saw the emergence of a dynamic economy.最近10年见证了经济增长的姿态。
• Language emerges and develops with the emergence and development of society.语言是随着社会的产生而产生，随着社会的发展而发展的。

365 satiric   

adj.讽刺的，挖苦的

参考例句：

• Looking at her satiric parent she only gave a little laugh.她望着她那挖苦人的父亲，只讪讪地笑了一下。
• His satiric poem spared neither the politicians nor the merchants.政客们和商人们都未能免于遭受他的诗篇的讽刺。

366 asperity   

n.粗鲁，艰苦

参考例句：

• He spoke to the boy with asperity.他严厉地对那男孩讲话。
• The asperity of the winter had everybody yearning for spring.严冬之苦让每个人都渴望春天。

367 languished   

长期受苦( languish的过去式和过去分词 )； 受折磨； 变得（越来越）衰弱； 因渴望而变得憔悴或闷闷不乐

参考例句：

• Our project languished during the holidays. 我们的计划在假期间推动得松懈了。
• He languished after his dog died. 他狗死之后，人憔悴了。

368 authoritative   

adj.有权威的，可相信的；命令式的；官方的

参考例句：

• David speaks in an authoritative tone.大卫以命令的口吻说话。
• Her smile was warm but authoritative.她的笑容很和蔼，同时又透着威严。

369 purged   

清除（政敌等）( purge的过去式和过去分词 )； 涤除（罪恶等）； 净化（心灵、风气等）； 消除（错事等）的不良影响

参考例句：

• He purged his enemies from the Party. 他把他的敌人从党内清洗出去。
• The iron in the chemical compound must be purged. 化学混合物中的铁必须清除。

370 perversions   

n.歪曲( perversion的名词复数 )；变坏；变态心理

参考例句：

• Many practices commonly regarded as perversions were widespread. 许多通常认为是性变态的行为的做法实际上是广泛存在的。 来自辞典例句

371 motives   

n.动机，目的( motive的名词复数 )

参考例句：

• to impeach sb's motives 怀疑某人的动机
• His motives are unclear. 他的用意不明。

372 superseding   

取代，接替( supersede的现在分词 )

参考例句：

• This mechanism has such functions as integrating relations, resolving contradictions, superseding the old, improving efficiency. 公务员流动机制具有整合关系、化解矛盾、新陈代谢、提高效能等功能。
• The issuance, revision, superseding, and withdrawal of all documents should be controlled by maintaining revision histories. 11所有文件的发放、修订、替换和收回应当通过保存修订历史来控制。

373 defiant   

adj.无礼的，挑战的

参考例句：

• With a last defiant gesture,they sang a revolutionary song as they were led away to prison.他们被带走投入监狱时，仍以最后的反抗姿态唱起了一支革命歌曲。
• He assumed a defiant attitude toward his employer.他对雇主采取挑衅的态度。

374 lurk   

n.潜伏，潜行；v.潜藏，潜伏，埋伏

参考例句：

• Dangers lurk in the path of wilderness.在这条荒野的小路上隐伏着危险。
• He thought he saw someone lurking above the chamber during the address.他觉得自己看见有人在演讲时潜藏在会议厅顶上。

375 wade   

v.跋涉，涉水；n.跋涉

参考例句：

• We had to wade through the river to the opposite bank.我们只好涉水过河到对岸。
• We cannot but wade across the river.我们只好趟水过去。

376 converge   

vi.会合；聚集，集中；(思想、观点等)趋近

参考例句：

• The results converge towards this truth.其结果趋近于这个真理。
• Parallel lines converge at infinity.平行线永不相交。

377 admonished   

v.劝告( admonish的过去式和过去分词 )；训诫；（温和地）责备；轻责

参考例句：

• She was admonished for chewing gum in class. 她在课堂上嚼口香糖，受到了告诫。
• The teacher admonished the child for coming late to school. 那个孩子迟到，老师批评了他。 来自《简明英汉词典》

378 amplification   

n.扩大，发挥

参考例句：

• The voice of despair may be weak and need amplification.绝望的呼声可能很微弱，需要扩大。
• Some of them require further amplification.其中有些内容需进一步详细阐明。

379 extremity   

n.末端，尽头；尽力；终极；极度

参考例句：

• I hope you will help them in their extremity.我希望你能帮助在穷途末路的他们。
• What shall we do in this extremity?在这种极其困难的情况下我们该怎么办呢？

380 redeem   

v.买回，赎回，挽回，恢复，履行（诺言等）

参考例句：

• He had no way to redeem his furniture out of pawn.他无法赎回典当的家具。
• The eyes redeem the face from ugliness.这双眼睛弥补了他其貌不扬之缺陷。

381 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。

382 hue   

n.色度；色调；样子

参考例句：

• The diamond shone with every hue under the sun.金刚石在阳光下放出五颜六色的光芒。
• The same hue will look different in different light.同一颜色在不同的光线下看起来会有所不同。

383 bravura   

n.华美的乐曲；勇敢大胆的表现；adj.壮勇华丽的

参考例句：

• The music ends with a display of bravura.音乐以一段壮丽的乐章结束。
• This picture has a bravura of execution.这幅画作风大胆。

384 ornamentally   

装饰地，用作装饰品地

参考例句：

• Note: The quotation of the above-mentioned caps does not include bringing ornamentally and inside. 留学解答资讯网：注：以上帽子的报价不含装饰和内带。

385 enumerate   

v.列举，计算，枚举，数

参考例句：

• The heroic deeds of the people's soldiers are too numerous to enumerate.人民子弟兵的英雄事迹举不胜举。
• Its applications are too varied to enumerate.它的用途不胜枚举。

386 magisterial   

adj.威风的，有权威的；adv.威严地

参考例句：

• The colonel's somewhat in a magisterial manner.上校多少有点威严的神态。
• The Cambridge World History of Human Disease is a magisterial work.《剑桥世界人类疾病史》是一部权威著作。

387 commemorated   

v.纪念，庆祝( commemorate的过去式和过去分词 )

参考例句：

• Lincoln commemorated the soldiers killed in the battle in his address. 林肯在演说中表扬阵亡将士。 来自辞典例句
• You'll be commemorated for killing a spy, and be specially discharged. 你们每杀一个间谍将会被记录到特殊档案。 来自电影对白

388 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。

389 multiplications   

增多( multiplication的名词复数 )； 增加； 乘； 繁殖

参考例句：

• The optimum paths for multiplications of 7 and 8 are depicted in Figure 6.17. 图6．17中描绘了倍增7倍和8倍的最优路径。

390 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。

391 abides   

容忍( abide的第三人称单数 )； 等候； 逗留； 停留

参考例句：

• He abides by his friends. 他忠于朋友。
• He always abides by the law. 他素来守法。

392 fidelity   

n.忠诚，忠实；精确

参考例句：

• There is nothing like a dog's fidelity.没有什么能比得上狗的忠诚。
• His fidelity and industry brought him speedy promotion.他的尽职及勤奋使他很快地得到晋升。

393 appreciative   

adj.有鉴赏力的，有眼力的；感激的

参考例句：

• She was deeply appreciative of your help.她对你的帮助深表感激。
• We are very appreciative of their support in this respect.我们十分感谢他们在这方面的支持。

394 saturations   

浸湿( saturation的名词复数 )； 浸透； （达到）饱和状态； 饱和度

参考例句：

• It was useful forH2SO4 production when the accumulative saturationS capacity reached 20%. 当脱硫剂累计饱和硫容达20％时，可用于生产硫酸。
• The cognition of the relationship of saturations and its influence to water flood is not enough. 饱和度的关系及对水淹程度的影响认识深度不够。

395 iridescence   

n.彩虹色；放光彩；晕色；晕彩

参考例句：

• You can see the iridescence on their faces. 你可以看到他们脸上的彩虹色。 来自辞典例句
• The huge pool of blood in front of her was already assuming the iridescence of coagulation. 她面前那一滩血，已经凝结了起来，显出五光十色。 来自辞典例句

396 appropriation   

n.拨款，批准支出

参考例句：

• Our government made an appropriation for the project.我们的政府为那个工程拨出一笔款项。
• The council could note an annual appropriation for this service.议会可以为这项服务表决给他一笔常年经费。

397 presumptions   

n.假定( presumption的名词复数 )；认定；推定；放肆

参考例句：

• Much modern technological advance is based on these presumptions of legal security. 许多现代技术的发展都是基于这些法律安全设想的考虑。 来自互联网
• What visions, what expectations and what presumptions can outsoar that flight? 那一种想象，那一种期望和推测能超越他之上呢？ 来自互联网

398 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。