chapter 5

 We now approach the real purpose of our investigation¹, which aims at acquiring a knowledge of the Dionyso-Apollonian genius and his art-work, or at least an anticipatory² understanding of the mystery of the aforesaid union. Here we shall ask first of all where that new germ which subsequently developed into tragedy and dramatic dithyramb first makes itself perceptible in the Hellenic world. The ancients themselves supply the answer in symbolic⁴ form, when they place Homer and Archilochus as the forefathers⁵ and torch-bearers of Greek poetry side by side on gems⁶, sculptures, etc., in the sure conviction that only these two thoroughly⁷ original compeers, from whom a stream of fire flows over the whole of Greek posterity⁸, should be taken into consideration. Homer, the aged³ dreamer sunk in himself, the type of the Apollonian na?ve artist, beholds⁹ now with astonishment¹¹ the impassioned genius of the warlike votary¹² of the muses¹³, Archilochus, violently tossed to and fro on the billows of existence: and modern ?sthetics could only add by way of interpretation¹⁴, that here the "objective" artist is confronted by the first "subjective¹⁵" artist.[Pg 44] But this interpretation is of little service to us, because we know the subjective artist only as the poor artist, and in every type and elevation¹⁶ of art we demand specially¹⁷ and first of all the conquest of the Subjective, the redemption from the "ego¹⁸" and the cessation of every individual will and desire; indeed, we find it impossible to believe in any truly artistic¹⁹ production, however insignificant²⁰, without objectivity, without pure, interestless contemplation. Hence our ?sthetics must first solve the problem as to how the "lyrist" is possible as an artist: he who according to the experience of all ages continually says "I" and sings off to us the entire chromatic²¹ scale of his passions and desires. This very Archilochus appals²² us, alongside of Homer, by his cries of hatred²³ and scorn, by the drunken outbursts of his desire. Is not just he then, who has been called the first subjective artist, the non-artist proper? But whence then the reverence²⁴ which was shown to him—the poet—in very remarkable²⁵ utterances²⁶ by the Delphic oracle²⁷ itself, the focus of "objective" art?

Schiller has enlightened us concerning his poetic²⁸ procedure by a psychological observation, inexplicable²⁹ to himself, yet not apparently³⁰ open to any objection. He acknowledges that as the preparatory state to the act of poetising he had not perhaps before him or within him a series of pictures with co-ordinate causality of thoughts, but rather a musical mood ("The perception with me is at first without a clear and definite object; this forms itself later. A certain musical mood of[Pg 45] mind precedes, and only after this does the poetical³¹ idea follow with me.") Add to this the most important phenomenon of all ancient lyric³² poetry, the union, regarded everywhere as natural, of the lyrist with the musician, their very identity, indeed,—compared with which our modern lyric poetry is like the statue of a god without a head,—and we may now, on the basis of our metaphysics of ?sthetics set forth³³ above, interpret the lyrist to ourselves as follows. As Dionysian artist he is in the first place become altogether one with the Primordial³⁴ Unity³⁵, its pain and contradiction, and he produces the copy of this Primordial Unity as music, granting that music has been correctly termed a repetition and a recast of the world; but now, under the Apollonian dream-inspiration, this music again becomes visible to him as in a symbolic dream-picture. The formless and intangible reflection of the primordial pain in music, with its redemption in appearance, then generates a second mirroring as a concrete symbol or example. The artist has already surrendered his subjectivity³⁶ in the Dionysian process: the picture which now shows to him his oneness with the heart of the world, is a dream-scene, which embodies³⁷ the primordial contradiction and primordial pain, together with the primordial joy, of appearance. The "I" of the lyrist sounds therefore from the abyss of being: its "subjectivity," in the sense of the modern ?sthetes, is a fiction. When Archilochus, the first lyrist of the Greeks, makes known both his mad love and his contempt to the daughters of Lycambes, it is not his passion which[Pg 46] dances before us in orgiastic frenzy³⁸: we see Dionysus and the M?nads, we see the drunken reveller³⁹ Archilochus sunk down to sleep—as Euripides depicts⁴⁰ it in the Bacch?, the sleep on the high Alpine⁴² pasture, in the noonday sun:—and now Apollo approaches and touches him with the laurel. The Dionyso-musical enchantment⁴³ of the sleeper⁴⁴ now emits, as it were, picture sparks, lyrical poems, which in their highest development are called tragedies and dramatic dithyrambs.

The plastic artist, as also the epic⁴¹ poet, who is related to him, is sunk in the pure contemplation of pictures. The Dionysian musician is, without any picture, himself just primordial pain and the primordial re-echoing thereof. The lyric genius is conscious of a world of pictures and symbols—growing out of the state of mystical self-abnegation and oneness,—which has a colouring causality and velocity⁴⁵ quite different from that of the world of the plastic artist and epic poet. While the latter lives in these pictures, and only in them, with joyful⁴⁶ satisfaction, and never grows tired of contemplating⁴⁷ them with love, even in their minutest characters, while even the picture of the angry Achilles is to him but a picture, the angry expression of which he enjoys with the dream-joy in appearance—so that, by this mirror of appearance, he is guarded against being unified⁴⁸ and blending with his figures;—the pictures of the lyrist on the other hand are nothing but his very self and, as it were, only different projections⁴⁹ of himself, on account of which he as the moving centre of this world is entitled to say "I": only[Pg 47] of course this self is not the same as that of the waking, empirically real man, but the only verily existent and eternal self resting at the basis of things, by means of the images whereof the lyric genius sees through even to this basis of things. Now let us suppose that he beholds himself also among these images as non-genius, i.e., his subject, the whole throng⁵⁰ of subjective passions and impulses of the will directed to a definite object which appears real to him; if now it seems as if the lyric genius and the allied⁵¹ non-genius were one, and as if the former spoke⁵² that little word "I" of his own accord, this appearance will no longer be able to lead us astray, as it certainly led those astray who designated the lyrist as the subjective poet. In truth, Archilochus, the passionately⁵³ inflamed⁵⁴, loving and hating man, is but a vision of the genius, who by this time is no longer Archilochus, but a genius of the world, who expresses his primordial pain symbolically⁵⁵ in the figure of the man Archilochus: while the subjectively⁵⁶ willing and desiring man, Archilochus, can never at any time be a poet. It is by no means necessary, however, that the lyrist should see nothing but the phenomenon of the man Archilochus before him as a reflection of eternal being; and tragedy shows how far the visionary world of the lyrist may depart from this phenomenon, to which, of course, it is most intimately related.

Schopenhauer, who did not shut his eyes to the difficulty presented by the lyrist in the philosophical⁵⁷ contemplation of art, thought he had found a way out of it, on which, however, I cannot[Pg 48] accompany him; while he alone, in his profound metaphysics of music, held in his hands the means whereby this difficulty could be definitely removed: as I believe I have removed it here in his spirit and to his honour. In contrast to our view, he describes the peculiar⁵⁸ nature of song as follows[4] (Welt als Wille und Vorstellung, I. 295):—"It is the subject of the will, i.e., his own volition⁵⁹, which fills the consciousness of the singer; often as an unbound and satisfied desire (joy), but still more often as a restricted desire (grief), always as an emotion, a passion, or an agitated⁶⁰ frame of mind. Besides this, however, and along with it, by the sight of surrounding nature, the singer becomes conscious of himself as the subject of pure will-less knowing, the unbroken, blissful peace of which now appears, in contrast to the stress of desire, which is always restricted and always needy⁶¹. The feeling of this contrast, this alternation, is really what the song as a whole expresses and what principally constitutes the lyrical state of mind. In it pure knowing comes to us as it were to deliver us from desire and the stress thereof: we follow, but only for an instant; for desire, the remembrance of our personal ends, tears us anew from peaceful contemplation; yet ever again the next beautiful surrounding in which the pure will-less knowledge presents itself to us, allures⁶² us away from desire. Therefore, in song and in the lyrical mood, desire[Pg 49] (the personal interest of the ends) and the pure perception of the surrounding which presents itself, are wonderfully mingled⁶³ with each other; connections between them are sought for and imagined; the subjective disposition⁶⁴, the affection of the will, imparts its own hue⁶⁵ to the contemplated⁶⁶ surrounding, and conversely, the surroundings communicate the reflex of their colour to the will. The true song is the expression of the whole of this mingled and divided state of mind."

Who could fail to see in this description that lyric poetry is here characterised as an imperfectly attained⁶⁷ art, which seldom and only as it were in leaps arrives at its goal, indeed, as a semi-art, the essence of which is said to consist in this, that desire and pure contemplation, i.e., the un?sthetic and the ?sthetic condition, are wonderfully mingled with each other? We maintain rather, that this entire antithesis⁶⁸, according to which, as according to some standard of value, Schopenhauer, too, still classifies the arts, the antithesis between the subjective and the objective, is quite out of place in ?sthetics, inasmuch as the subject i.e., the desiring individual who furthers his own egoistic ends, can be conceived only as the adversary⁶⁹, not as the origin of art. In so far as the subject is the artist, however, he has already been released from his individual will, and has become as it were the medium, through which the one verily existent Subject celebrates his redemption in appearance. For this one thing must above all be clear to us, to our humiliation⁷⁰ and exaltation, that the entire comedy of art is not at all performed,[Pg 50] say, for our betterment and culture, and that we are just as little the true authors of this art-world: rather we may assume with regard to ourselves, that its true author uses us as pictures and artistic projections, and that we have our highest dignity in our significance as works of art—for only as an ?sthetic phenomenon is existence and the world eternally justified:—while of course our consciousness of this our specific significance hardly differs from the kind of consciousness which the soldiers painted on canvas have of the battle represented thereon. Hence all our knowledge of art is at bottom quite illusory, because, as knowing persons we are not one and identical with the Being who, as the sole author and spectator of this comedy of art, prepares a perpetual entertainment for himself. Only in so far as the genius in the act of artistic production coalesces⁷¹ with this primordial artist of the world, does he get a glimpse of the eternal essence of art, for in this state he is, in a marvellous manner, like the weird⁷² picture of the fairy-tale which can at will turn its eyes and behold¹⁰ itself; he is now at once subject and object, at once poet, actor, and spectator.

[4] World as Will and Idea, I. 323, 4th ed. of Haldane and Kemp's translation. Quoted with a few changes.

1 investigation   

n.调查，调查研究

参考例句：

• In an investigation,a new fact became known, which told against him.在调查中新发现了一件对他不利的事实。
• He drew the conclusion by building on his own investigation.他根据自己的调查研究作出结论。

2 anticipatory   

adj.预想的，预期的

参考例句：

• An anticipatory story is a trap to the teller.对于讲故事的人而言，事先想好的故事是个框框。
• Data quality is a function of systematic usage,not anticipatory design.数据质量是系统使用的功能，不是可预料的设计。

3 aged   

adj.年老的，陈年的

参考例句：

• He had put on weight and aged a little.他胖了，也老点了。
• He is aged,but his memory is still good.他已年老，然而记忆力还好。

4 symbolic   

adj.象征性的，符号的，象征主义的

参考例句：

• It is symbolic of the fighting spirit of modern womanhood.它象征着现代妇女的战斗精神。
• The Christian ceremony of baptism is a symbolic act.基督教的洗礼仪式是一种象征性的做法。

5 forefathers   

n.祖先，先人；祖先，祖宗( forefather的名词复数 )；列祖列宗；前人

参考例句：

• They are the most precious cultural legacy our forefathers left. 它们是我们祖先留下来的最宝贵的文化遗产。 来自《简明英汉词典》
• 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。 来自《简明英汉词典》

6 gems   

growth； economy； management； and customer satisfaction 增长

参考例句：

• a crown studded with gems 镶有宝石的皇冠
• The apt citations and poetic gems have adorned his speeches. 贴切的引语和珠玑般的诗句为他的演说词增添文采。

7 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。

8 posterity   

n.后裔，子孙，后代

参考例句：

• Few of his works will go down to posterity.他的作品没有几件会流传到后世。
• The names of those who died are recorded for posterity on a tablet at the back of the church.死者姓名都刻在教堂后面的一块石匾上以便后人铭记。

9 beholds   

v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟

参考例句：

• He who beholds the gods against their will, shall atone for it by a heavy penalty. 谁违背神的意志看见了神，就要受到重罚以赎罪。 来自辞典例句
• All mankind has gazed on it; Man beholds it from afar. 25?所行的，万人都看见；世人都从远处观看。 来自互联网

10 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。

11 astonishment   

n.惊奇，惊异

参考例句：

• They heard him give a loud shout of astonishment.他们听见他惊奇地大叫一声。
• I was filled with astonishment at her strange action.我对她的奇怪举动不胜惊异。

12 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。

13 muses   

v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事）

参考例句：

• We have listened too long to the courtly muses of Europe. 欧洲那种御用的诗才，我们已经听够了。 来自辞典例句
• Shiki muses that this is, at least, probably the right atmosphere. 志贵觉得这至少是正确的气氛。 来自互联网

14 interpretation   

n.解释，说明，描述；艺术处理

参考例句：

• His statement admits of one interpretation only.他的话只有一种解释。
• Analysis and interpretation is a very personal thing.分析与说明是个很主观的事情。

15 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。

16 elevation   

n.高度；海拔；高地；上升；提高

参考例句：

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

17 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。

18 ego   

n.自我，自己，自尊

参考例句：

• He is absolute ego in all thing.在所有的事情上他都绝对自我。
• She has been on an ego trip since she sang on television.她上电视台唱过歌之后就一直自吹自擂。

19 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。

20 insignificant   

adj.无关紧要的，可忽略的，无意义的

参考例句：

• In winter the effect was found to be insignificant.在冬季，这种作用是不明显的。
• This problem was insignificant compared to others she faced.这一问题与她面临的其他问题比较起来算不得什么。

21 chromatic   

adj.色彩的，颜色的

参考例句：

• The removal of the chromatic aberration is then of primary importance.这时消除色差具有头等重要性。
• In lampblack many kitchens easy to present the chromatic aberration.油烟较多的厨房中易出现色差。

22 appals   

v.使惊骇，使充满恐惧( appal的第三人称单数 )

参考例句：

• Mr Huckabee's weakness is that his protectionist and anti-corporate rhetoric appals economic conservatives. 哈克比先生的弱点在于他的贸易保护主义者和反公司的言论吓坏了经济保守派。 来自互联网

23 hatred   

n.憎恶，憎恨，仇恨

参考例句：

• He looked at me with hatred in his eyes.他以憎恨的眼光望着我。
• The old man was seized with burning hatred for the fascists.老人对法西斯主义者充满了仇恨。

24 reverence   

n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬

参考例句：

• He was a bishop who was held in reverence by all.他是一位被大家都尊敬的主教。
• We reverence tradition but will not be fettered by it.我们尊重传统，但不被传统所束缚。

25 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。

26 utterances   

n.发声( utterance的名词复数 )；说话方式；语调；言论

参考例句：

• John Maynard Keynes used somewhat gnomic utterances in his General Theory. 约翰·梅纳德·凯恩斯在其《通论》中用了许多精辟言辞。 来自辞典例句
• Elsewhere, particularly in his more public utterances, Hawthorne speaks very differently. 在别的地方，特别是在比较公开的谈话里，霍桑讲的话则完全不同。 来自辞典例句

27 oracle   

n.神谕，神谕处，预言

参考例句：

• In times of difficulty,she pray for an oracle to guide her.在困难的时候，她祈祷神谕来指引她。
• It is a kind of oracle that often foretells things most important.它是一种内生性神谕，常常能预言最重要的事情。

28 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。

29 inexplicable   

adj.无法解释的，难理解的

参考例句：

• It is now inexplicable how that development was misinterpreted.当时对这一事态发展的错误理解究竟是怎么产生的，现在已经无法说清楚了。
• There are many things which are inexplicable by science.有很多事科学还无法解释。

30 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。

31 poetical   

adj.似诗人的；诗一般的；韵文的；富有诗意的

参考例句：

• This is a poetical picture of the landscape. 这是一幅富有诗意的风景画。 来自《简明英汉词典》
• John is making a periphrastic study in a worn-out poetical fashion. 约翰正在对陈腐的诗风做迂回冗长的研究。 来自辞典例句

32 lyric   

n.抒情诗，歌词；adj.抒情的

参考例句：

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

33 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。

34 primordial   

adj.原始的；最初的

参考例句：

• It is the primordial force that propels us forward.它是推动我们前进的原始动力。
• The Neanderthal Man is one of our primordial ancestors.的尼安德特人是我们的原始祖先之一.

35 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。

36 subjectivity   

n.主观性（主观主义）

参考例句：

• In studying a problem,we must shun subjectivity.研究问题，忌带主观性。
• 'Cause there's a certain amount of subjectivity involved in recreating a face.因为在重建面部的过程中融入了太多的主观因素？

37 embodies   

v.表现( embody的第三人称单数 )；象征；包括；包含

参考例句：

• The new treaty embodies the aspirations of most nonaligned countries. 新条约体现了大多数不结盟国家的愿望。 来自《简明英汉词典》
• This document embodies the concern of the government for the deformity. 这个文件体现了政府对残疾人的关怀。 来自《现代汉英综合大词典》

38 frenzy   

n.疯狂，狂热，极度的激动

参考例句：

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

39 reveller   

n.摆设酒宴者，饮酒狂欢者

参考例句：

40 depicts   

描绘，描画( depict的第三人称单数 )； 描述

参考例句：

• The book vividly depicts French society of the 1930s. 这本书生动地描绘了20 世纪30 年代的法国社会。
• He depicts the sordid and vulgar sides of life exclusively. 他只描写人生肮脏和庸俗的一面。

41 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。

42 alpine   

adj.高山的；n.高山植物

参考例句：

• Alpine flowers are abundant there.那里有很多高山地带的花。
• Its main attractions are alpine lakes and waterfalls .它以高山湖泊和瀑布群为主要特色。

43 enchantment   

n.迷惑，妖术，魅力

参考例句：

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

44 sleeper   

n.睡眠者，卧车，卧铺

参考例句：

• I usually go up to London on the sleeper. 我一般都乘卧车去伦敦。
• But first he explained that he was a very heavy sleeper. 但首先他解释说自己睡觉很沉。

45 velocity   

n.速度，速率

参考例句：

• Einstein's theory links energy with mass and velocity of light.爱因斯坦的理论把能量同质量和光速联系起来。
• The velocity of light is about 300000 kilometres per second.光速约为每秒300000公里。

46 joyful   

adj.欢乐的，令人欢欣的

参考例句：

• She was joyful of her good result of the scientific experiments.她为自己的科学实验取得好成果而高兴。
• They were singing and dancing to celebrate this joyful occasion.他们唱着、跳着庆祝这令人欢乐的时刻。

47 contemplating   

深思，细想，仔细考虑( contemplate的现在分词 )； 注视，凝视； 考虑接受（发生某事的可能性）； 深思熟虑，沉思，苦思冥想

参考例句：

• You're too young to be contemplating retirement. 你考虑退休还太年轻。
• She stood contemplating the painting. 她站在那儿凝视那幅图画。

48 unified   

(unify 的过去式和过去分词)； 统一的； 统一标准的； 一元化的

参考例句：

• The teacher unified the answer of her pupil with hers. 老师核对了学生的答案。
• The First Emperor of Qin unified China in 221 B.C. 秦始皇于公元前221年统一中国。

49 projections   

预测( projection的名词复数 )； 投影； 投掷； 突起物

参考例句：

• Their sales projections are a total thumbsuck. 他们的销售量预测纯属估计。
• The council has revised its projections of funding requirements upwards. 地方议会调高了对资金需求的预测。

50 throng   

n.人群，群众；v.拥挤，群集

参考例句：

• A patient throng was waiting in silence.一大群耐心的人在静静地等着。
• The crowds thronged into the mall.人群涌进大厅。

51 allied   

adj.协约国的；同盟国的

参考例句：

• Britain was allied with the United States many times in history.历史上英国曾多次与美国结盟。
• Allied forces sustained heavy losses in the first few weeks of the campaign.同盟国在最初几周内遭受了巨大的损失。

52 spoke   

n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说

参考例句：

• They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
• The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。

53 passionately   

ad.热烈地，激烈地

参考例句：

• She could hate as passionately as she could love. 她能恨得咬牙切齿，也能爱得一往情深。
• He was passionately addicted to pop music. 他酷爱流行音乐。

54 inflamed   

adj.发炎的，红肿的v.（使）变红，发怒，过热( inflame的过去式和过去分词 )

参考例句：

• His comments have inflamed teachers all over the country. 他的评论激怒了全国教师。
• Her joints are severely inflamed. 她的关节严重发炎。 来自《简明英汉词典》

55 symbolically   

ad.象征地，象征性地

参考例句：

• By wearing the ring on the third finger of the left hand, a married couple symbolically declares their eternal love for each other. 将婚戒戴在左手的第三只手指上，意味着夫妻双方象征性地宣告他们的爱情天长地久，他们定能白头偕老。
• Symbolically, he coughed to clear his throat. 周经理象征地咳一声无谓的嗽，清清嗓子。

56 subjectively   

主观地； 臆

参考例句：

• Subjectively, the demand of interest is the desire of human being. 荀子所说的对利的需要从主观上说就是人的欲望。
• A sound also has an amplitude, a property subjectively heard as loudness. 声音有振幅，振幅的主观感觉是声音的大小。

57 philosophical   

adj.哲学家的，哲学上的，达观的

参考例句：

• The teacher couldn't answer the philosophical problem.老师不能解答这个哲学问题。
• She is very philosophical about her bad luck.她对自己的不幸看得很开。

58 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。

59 volition   

n.意志；决意

参考例句：

• We like to think that everything we do and everything we think is a product of our volition.我们常常认为我们所做和所想的一切都出自自己的意愿。
• Makin said Mr Coombes had gone to the police of his own volition.梅金说库姆斯先生是主动去投案的。

60 agitated   

adj.被鼓动的，不安的

参考例句：

• His answers were all mixed up,so agitated was he.他是那样心神不定，回答全乱了。
• She was agitated because her train was an hour late.她乘坐的火车晚点一个小时，她十分焦虑。

61 needy   

adj.贫穷的，贫困的，生活艰苦的

参考例句：

• Although he was poor,he was quite generous to his needy friends.他虽穷，但对贫苦的朋友很慷慨。
• They awarded scholarships to needy students.他们给贫苦学生颁发奖学金。

62 allures   

诱引，吸引( allure的第三人称单数 )

参考例句：

• Hawaii allures many tourists. 夏威夷吸引了许多旅游者。
• The fine weather allures the ladies into the garden. 晴朗的天气吸引女士们来到花园里。

63 mingled   

混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系]

参考例句：

• The sounds of laughter and singing mingled in the evening air. 笑声和歌声交织在夜空中。
• The man and the woman mingled as everyone started to relax. 当大家开始放松的时候，这一男一女就开始交往了。

64 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。

65 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。

66 contemplated   

adj. 预期的 动词contemplate的过去分词形式

参考例句：

• The doctor contemplated the difficult operation he had to perform. 医生仔细地考虑他所要做的棘手的手术。
• The government has contemplated reforming the entire tax system. 政府打算改革整个税收体制。

67 attained   

（通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• She has attained the degree of Master of Arts. 她已获得文学硕士学位。
• Lu Hsun attained a high position in the republic of letters. 鲁迅在文坛上获得崇高的地位。

68 antithesis   

n.对立；相对

参考例句：

• The style of his speech was in complete antithesis to mine.他和我的讲话方式完全相反。
• His creation was an antithesis to academic dogmatism of the time.他的创作与当时学院派的教条相对立。

69 adversary   

adj.敌手，对手

参考例句：

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

70 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。

71 coalesces   

v.联合，合并( coalesce的第三人称单数 )

参考例句：

• One air cell coalesces with another. 气房彼此融合。 来自辞典例句

72 weird   

adj.古怪的，离奇的；怪诞的，神秘而可怕的

参考例句：

• From his weird behaviour,he seems a bit of an oddity.从他不寻常的行为看来，他好像有点怪。
• His weird clothes really gas me.他的怪衣裳简直笑死人。