As if to celebrate that image, from the Hall of the Greater Council came the first notes of the symphony of Benedetto Marcello, the fugue-like movement of which revealed at once its grand style. A sonorous10 idea, clear and strong as a living person, developed itself in the powerful measure; and in that melody Stelio recognized the virtue11 of the same principle around which, as around a thyrsus, he had twined the garlands of his poesy.
Then the name that had already resounded12 against the sides of the vessel13, in the silence and the shadow, that name which, in the great wave of sound from the evening bells, had been lost like a sibylline14 leaf, seemed to his fancy to propose its syllables15 to the orchestra as a new theme to be interpreted by the musicians' bows. The violins, viols, and violoncellos sang it in turn; the sudden blasts of the heroic trumpets16 exalted17 it; and at last a whole quartette, in one great, thrilling chord, flung it toward that heaven of joy where later would sparkle the starry18 crown offered to Ariadne by the golden Aphrodite.
In the pause that followed, Stelio experienced a singular agitation, almost like a religious ecstasy19, before that annunciation. He realized what it was worth to him, in that inestimable lyric20 moment, to find himself alone amid this group of white and motionless statues. A shred21 of the same mystery which, under the quarter of the ship, had seemed to float lightly across his senses like a misty22 veil, again waved before his eyes in that deserted23 hall, which was so near to the human throng. It was like the silence of the sea-shell, lying on the shore beside the stormy ocean. He again felt a conviction, such as he had already experienced in certain extraordinary hours of his journey, of the presence of his fate, which was about to give to his spirit a new impulse, perhaps to quicken within him a marvelous act of will. And, as he remembered the thousands of obscure destinies hanging over the heads of that crowd, which had been so stirred by his images of an ideal life, he congratulated himself on being able to adore alone the propitious24 demon25 that came to visit him secretly, to offer to him a veiled gift, in the name of an unknown mistress.
He thrilled at the burst of human voices that saluted26 with triumphal acclamation the unvanquished god.
The vast hall resounded like a great timbrel, and the reverberation28 penetrated29 through the Censors30' Stairway, the Golden Stairway, the corridors and the vestibules to the furthermost parts of the palace, like a thunder of joy echoing in the serene31 night.
Viva il forte, viva il grande!
It seemed indeed that the chorus was saluting33 the apparition34 of the magnificent god invoked35 by the poet on the City Beautiful. It seemed that in those vocal36 notes the folds of his purple draperies quivered like flames in a crystal tube. The living image hung suspended over the assemblage, which nourished it with its own dream.
Viva il forte, viva il grande!
In the impetuous fugue movement, the bass37, the contraltos, the sopranos repeated the frenzied38 acclamation to the Immortal39 of the thousand names and the thousand crowns, "born on an ineffable40 bed, like to a young man in his first youth."
The old Dionysian intoxication42 seemed born again, diffusing43 itself through that divine chorus. The fulness and freshness of life in the smile of Zeus, who freed men's souls from sadness, expressed itself in a luminous44 outburst of joy. The torches of the Bacchantes blazed and crackled in the sound. As in an Orphic hymn45, the brightness of conflagration46 illumined that youthful brow, surmounted47 by azure48 hair. "When the splendor49 of fire invaded the whole earth, he alone checked the whirlwinds of flame." As in the Homeric hymn, there palpitated the sterile50 bosom51 of the sea, expressing in regular cadences52 the measured stroke of the oars53 that propelled the stout54 vessel toward unknown lands. The Flower-bearer, the Fructifier, the visible Remedy for mortal man, the sacred Flower, The Friend of Pleasure, Dionysius, the liberator55, suddenly appeared before mankind on the wings of song, crowning for them that nocturnal hour with happiness, placing before them once more the cup overflowing56 with all the good things of life.
The song increased in power; all the voices blended in the rush of melody. The hymn celebrated57 the tamer of tigers, of panthers, lions and lynxes. A cry seemed to rise from M?nads with heads turned backward, flying locks and floating robes, who struck their cymbals58 and shook their castanets: Evoé!
But now suddenly surged above these heroic measures a broad, pastoral rhythm, invoking59 the Theban Bacchus, of the pure brow and gentle thoughts:
Quel che all'olmo la vite in stretto nodo
Pronuba accoppia, e i pampini feconda ...
Only two voices, in a succession of sixths, now sang the flowery nuptials60, the leafy marriage, the flexible bonds. Before the eyes of the multitude again passed that image already created by the poet of the barque laden62 with clusters, like a vat63 filled with grapes to be made into wine. And again the song seemed to recall the miracle witnessed by the prudent64 pilot Medeia: "And behold65! a sweet and fragrant66 wine ran over the swift, black boat.... And behold! a vine climbed to the top of the sail, and from it hung innumerable clusters of grapes. And a dark ivy67 twined about the mast, and it was covered with flowers, and beautiful fruits amid their foliage68 grew thereon, and garlands were wound about the rowlocks."
The spirit of the fugue then passed into the orchestra, and mounted in exquisitely69 light roulades, while the voices struck on the orchestral web with simultaneous percussion70. And, like a thyrsus waving over the Bacchic troop, a single voice floated out in the nuptial61 melody, with the laughing joy and grace of the pastoral marriage:
Viva dell'olmo,
E della vite
L'almo fecondo
Sostenitor!
The voices seemed to evoke71 the image of erect72 and graceful73 Tiades, gently waving their thyrsi in the mists of divine intoxication, dressed in long saffron-hued robes, their faces lighted up, ardent74 as those women of Veronese, who leaned over their aerial balconies to listen to the song.
But the heroic acclamation once more sprang up with final vehemence75. The face of the conquering god reappeared amid torches frantically76 waved aloft. Then, in unison77, in a supreme78 burst of joy, voices and orchestra thundered together at the many-eyed chimera79 under the suspended treasure of that dome circled by red triremes, armed towers, and triumphal bands:
Viva dell'Indie,
Viva de' mari,
Viva de' mostri
Il domator.
Stelio Effrena had gone as far as the threshold; through the throng that made way before him he penetrated into the hall and halted near the platform occupied by the orchestra and the singers. His restless eyes sought La Foscarina near the celestial80 sphere, but did not find her. The head of the Tragic81 Muse1 no longer rose above the constellations82. Where was she? To what place has she withdrawn83? Could she see him, although he could not see her? A confused anxiety agitated84 him, and the remembrance of the early evening on the water returned to him indistinctly, accompanied by the words of her recent promise. Glancing up at the open balconies, he thought that perhaps she had stepped outside to breathe the fresh night air, and that, perhaps, leaning against the balustrade she felt passing over her cool throat the wave of music, which would seem as sweet to her as the delight of a kiss from beloved lips.
But his impatience85 to hear the divine voice dominated all other impatience, abolished all other desire. He observed that again a profound silence reigned86 throughout the hall, as at the instant when he had opened his lips to speak his first word. And, as at that instant, the versatile87 and ephemeral monster, with a thousand human faces, seemed to extend itself and yawn to receive a new soul.
Some one near Stelio whispered the name of Donatella Arvale. He turned his eyes toward the platform, past the row of violoncellos, which formed a brown hedge. The singer remained invisible, hidden in the delicate, quivering forest of bows, whence would arise the mournful harmony that must accompany the Lament88 of Ariadne.
Amid a sympathetic silence rose a prelude89 of violins. Then the viols and violoncellos added a sigh more profound to that imploring90 plaint. Was not this—after the Phrygian flute91 and the castanets, after the instruments of orgies, which trouble the reason and provoke delirium—was not this the august Doric lyre, grave and sweet, the harmonious92 support of song? Thus was the Drama born from the boisterous93 Dithyramb. The great metamorphosis of the Dionysian rite94, the frenzy95 of the sacred festival before the creative inspiration of the tragic poet, were figured in that musical alternance. The fiery96 breath of the Thracian god gave life to a sublime97 form of Art. The crown and the tripod, the prize of the poet's victory, had displaced the lascivious98 goat and the Attic99 basket of figs100. ?schylus, keeper of a vineyard, had been visited by the god, who had infused into him his spirit of flame. On the bank of the Acropolis, near the sanctuary101 of Dionysius, a marble theater had risen, capable of containing the chosen people.
Thus suddenly opened in the mind of the Master the pathways of centuries, extending through the distance of primitive102 mysteries. That form of Art, toward which now tended the effort of his genius, attracted by the obscure aspirations103 of human multitudes, appeared to him in the sanctity of its origins. The divine sadness of Ariadne, up-springing like a melodious104 cry from the furious Thiaros, made leap once more within him the work he nourished in his soul, unformed yet alive. With a glance, again he sought the Muse of the revealing voice against the sphere of constellations, but he did not see her, and turned once more to the forest of instruments, whence rose the imploring plaint.
Then, amid the slender bows, that rose and fell upon the strings105 with alternating movement, appeared the singer, erect as a stem; and, like a stem, she seemed to balance herself an instant on the softened106 harmony. The youthfulness of her agile107 and robust108 body shone resplendent through the texture109 of her robes, as a flame is seen through the thinness of polished ivory. Rising and falling around her white form, the bows seemed to draw their melody from the secret music that dwelt within her. When her lips opened in an enchanting110 curve, Stelio recognized the strength and purity of the voice before the singer had uttered one modulation111, as if she were a crystal statue wherein he could behold the unspringing of a jet of living water.
Come mai puoi
Vedermi piangere?
The melody of a by-gone love and long-dead sorrow flowed from those lips with an expression so pure and strong that suddenly, within the soul of the multitude, it was changed into a mysterious happiness. Was that strain indeed the divine plaint of the daughter of Minos, as she held out her arms in vain to the fair Stranger on the deserted shore of Naxos? The fable41 vanished; the illusion of the moment was abolished. The eternal love and eternal sorrow of gods and of men were exhaled112 in that perfect voice. The futile113 regret for each lost joy, the recollection of each fugitive114 blessing115, the supreme prayer flying toward every sail on the sea, toward every sun hiding itself among the mountains, the implacable desire and the promise of death—all these things passed into the great, solitary116 song, transformed by the power of Art into sublime essences which the soul could receive without suffering. The words were dissolved in tone, losing their significance, changed into notes of love and sadness, indefinitely illuminating117. Like a circle that is closed, and yet dilates118 continually in accordance with the rhythm of universal life, the melody encircled the composite soul which dilated119 with it in immeasurable joy. Through the open balconies, in the perfect calm of the autumn night, the enchantment120 spread over the peaceful waters and mounted to the watchful121 stars, higher than the motionless masts of the ships, higher than the sacred towers, inhabited by the now silent bronze bells. During the interludes the singer drooped122 her youthful head and stood motionless as a white statue among the forest of instruments, where the long bows rose and fell in alternate movement, perhaps unconscious of that world which in a few brief moments her song had transfigured.
点击收听单词发音
1 muse | |
n.缪斯(希腊神话中的女神),创作灵感 | |
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2 gathering | |
n.集会,聚会,聚集 | |
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3 vibration | |
n.颤动,振动;摆动 | |
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4 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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5 throng | |
n.人群,群众;v.拥挤,群集 | |
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6 vestige | |
n.痕迹,遗迹,残余 | |
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7 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 | |
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8 intoxicating | |
a. 醉人的,使人兴奋的 | |
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9 agitation | |
n.搅动;搅拌;鼓动,煽动 | |
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10 sonorous | |
adj.响亮的,回响的;adv.圆润低沉地;感人地;n.感人,堂皇 | |
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11 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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12 resounded | |
v.(指声音等)回荡于某处( resound的过去式和过去分词 );产生回响;(指某处)回荡着声音 | |
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13 vessel | |
n.船舶;容器,器皿;管,导管,血管 | |
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14 sibylline | |
adj.预言的;神巫的 | |
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15 syllables | |
n.音节( syllable的名词复数 ) | |
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16 trumpets | |
喇叭( trumpet的名词复数 ); 小号; 喇叭形物; (尤指)绽开的水仙花 | |
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17 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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18 starry | |
adj.星光照耀的, 闪亮的 | |
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19 ecstasy | |
n.狂喜,心醉神怡,入迷 | |
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20 lyric | |
n.抒情诗,歌词;adj.抒情的 | |
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21 shred | |
v.撕成碎片,变成碎片;n.碎布条,细片,些少 | |
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22 misty | |
adj.雾蒙蒙的,有雾的 | |
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23 deserted | |
adj.荒芜的,荒废的,无人的,被遗弃的 | |
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24 propitious | |
adj.吉利的;顺利的 | |
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25 demon | |
n.魔鬼,恶魔 | |
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26 saluted | |
v.欢迎,致敬( salute的过去式和过去分词 );赞扬,赞颂 | |
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27 forte | |
n.长处,擅长;adj.(音乐)强音的 | |
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28 reverberation | |
反响; 回响; 反射; 反射物 | |
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29 penetrated | |
adj. 击穿的,鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
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30 censors | |
删剪(书籍、电影等中被认为犯忌、违反道德或政治上危险的内容)( censor的第三人称单数 ) | |
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31 serene | |
adj. 安详的,宁静的,平静的 | |
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32 dome | |
n.圆屋顶,拱顶 | |
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33 saluting | |
v.欢迎,致敬( salute的现在分词 );赞扬,赞颂 | |
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34 apparition | |
n.幽灵,神奇的现象 | |
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35 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 | |
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36 vocal | |
adj.直言不讳的;嗓音的;n.[pl.]声乐节目 | |
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37 bass | |
n.男低音(歌手);低音乐器;低音大提琴 | |
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38 frenzied | |
a.激怒的;疯狂的 | |
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39 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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40 ineffable | |
adj.无法表达的,不可言喻的 | |
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41 fable | |
n.寓言;童话;神话 | |
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42 intoxication | |
n.wild excitement;drunkenness;poisoning | |
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43 diffusing | |
(使光)模糊,漫射,漫散( diffuse的现在分词 ); (使)扩散; (使)弥漫; (使)传播 | |
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44 luminous | |
adj.发光的,发亮的;光明的;明白易懂的;有启发的 | |
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45 hymn | |
n.赞美诗,圣歌,颂歌 | |
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46 conflagration | |
n.建筑物或森林大火 | |
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47 surmounted | |
战胜( surmount的过去式和过去分词 ); 克服(困难); 居于…之上; 在…顶上 | |
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48 azure | |
adj.天蓝色的,蔚蓝色的 | |
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49 splendor | |
n.光彩;壮丽,华丽;显赫,辉煌 | |
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50 sterile | |
adj.不毛的,不孕的,无菌的,枯燥的,贫瘠的 | |
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51 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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52 cadences | |
n.(声音的)抑扬顿挫( cadence的名词复数 );节奏;韵律;调子 | |
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53 oars | |
n.桨,橹( oar的名词复数 );划手v.划(行)( oar的第三人称单数 ) | |
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55 liberator | |
解放者 | |
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56 overflowing | |
n. 溢出物,溢流 adj. 充沛的,充满的 动词overflow的现在分词形式 | |
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57 celebrated | |
adj.有名的,声誉卓著的 | |
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58 cymbals | |
pl.铙钹 | |
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59 invoking | |
v.援引( invoke的现在分词 );行使(权利等);祈求救助;恳求 | |
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60 nuptials | |
n.婚礼;婚礼( nuptial的名词复数 ) | |
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61 nuptial | |
adj.婚姻的,婚礼的 | |
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62 laden | |
adj.装满了的;充满了的;负了重担的;苦恼的 | |
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63 vat | |
n.(=value added tax)增值税,大桶 | |
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64 prudent | |
adj.谨慎的,有远见的,精打细算的 | |
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65 behold | |
v.看,注视,看到 | |
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66 fragrant | |
adj.芬香的,馥郁的,愉快的 | |
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67 ivy | |
n.常青藤,常春藤 | |
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68 foliage | |
n.叶子,树叶,簇叶 | |
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69 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
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70 percussion | |
n.打击乐器;冲突,撞击;震动,音响 | |
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71 evoke | |
vt.唤起,引起,使人想起 | |
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72 erect | |
n./v.树立,建立,使竖立;adj.直立的,垂直的 | |
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73 graceful | |
adj.优美的,优雅的;得体的 | |
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74 ardent | |
adj.热情的,热烈的,强烈的,烈性的 | |
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75 vehemence | |
n.热切;激烈;愤怒 | |
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76 frantically | |
ad.发狂地, 发疯地 | |
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77 unison | |
n.步调一致,行动一致 | |
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78 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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79 chimera | |
n.神话怪物;梦幻 | |
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80 celestial | |
adj.天体的;天上的 | |
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81 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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82 constellations | |
n.星座( constellation的名词复数 );一群杰出人物;一系列(相关的想法、事物);一群(相关的人) | |
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83 withdrawn | |
vt.收回;使退出;vi.撤退,退出 | |
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84 agitated | |
adj.被鼓动的,不安的 | |
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85 impatience | |
n.不耐烦,急躁 | |
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86 reigned | |
vi.当政,统治(reign的过去式形式) | |
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87 versatile | |
adj.通用的,万用的;多才多艺的,多方面的 | |
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88 lament | |
n.悲叹,悔恨,恸哭;v.哀悼,悔恨,悲叹 | |
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89 prelude | |
n.序言,前兆,序曲 | |
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90 imploring | |
恳求的,哀求的 | |
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91 flute | |
n.长笛;v.吹笛 | |
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92 harmonious | |
adj.和睦的,调和的,和谐的,协调的 | |
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93 boisterous | |
adj.喧闹的,欢闹的 | |
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94 rite | |
n.典礼,惯例,习俗 | |
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95 frenzy | |
n.疯狂,狂热,极度的激动 | |
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96 fiery | |
adj.燃烧着的,火红的;暴躁的;激烈的 | |
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97 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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98 lascivious | |
adj.淫荡的,好色的 | |
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99 attic | |
n.顶楼,屋顶室 | |
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100 figs | |
figures 数字,图形,外形 | |
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101 sanctuary | |
n.圣所,圣堂,寺庙;禁猎区,保护区 | |
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102 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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103 aspirations | |
强烈的愿望( aspiration的名词复数 ); 志向; 发送气音; 发 h 音 | |
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104 melodious | |
adj.旋律美妙的,调子优美的,音乐性的 | |
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105 strings | |
n.弦 | |
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106 softened | |
(使)变软( soften的过去式和过去分词 ); 缓解打击; 缓和; 安慰 | |
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107 agile | |
adj.敏捷的,灵活的 | |
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108 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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109 texture | |
n.(织物)质地;(材料)构造;结构;肌理 | |
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110 enchanting | |
a.讨人喜欢的 | |
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111 modulation | |
n.调制 | |
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112 exhaled | |
v.呼出,发散出( exhale的过去式和过去分词 );吐出(肺中的空气、烟等),呼气 | |
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113 futile | |
adj.无效的,无用的,无希望的 | |
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114 fugitive | |
adj.逃亡的,易逝的;n.逃犯,逃亡者 | |
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115 blessing | |
n.祈神赐福;祷告;祝福,祝愿 | |
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116 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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117 illuminating | |
a.富于启发性的,有助阐明的 | |
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118 dilates | |
v.(使某物)扩大,膨胀,张大( dilate的第三人称单数 ) | |
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119 dilated | |
adj.加宽的,扩大的v.(使某物)扩大,膨胀,张大( dilate的过去式和过去分词 ) | |
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120 enchantment | |
n.迷惑,妖术,魅力 | |
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121 watchful | |
adj.注意的,警惕的 | |
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122 drooped | |
弯曲或下垂,发蔫( droop的过去式和过去分词 ) | |
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