chapter 7

 We shall now have to avail ourselves of all the principles of art hitherto considered, in order to find our way through the labyrinth¹, as we must designate the origin of Greek tragedy. I shall not be charged with absurdity² in saying that the[Pg 56] problem of this origin has as yet not even been seriously stated, not to say solved, however often the fluttering tatters of ancient tradition have been sewed together in sundry³ combinations and torn asunder⁴ again. This tradition tells us in the most unequivocal terms, that tragedy sprang from the tragic⁵ chorus, and was originally only chorus and nothing but chorus: and hence we feel it our duty to look into the heart of this tragic chorus as being the real proto-drama, without in the least contenting ourselves with current art-phraseology—according to which the chorus is the ideal spectator, or represents the people in contrast to the regal side of the scene. The latter explanatory notion, which sounds sublime⁶ to many a politician—that the immutable⁷ moral law was embodied⁸ by the democratic Athenians in the popular chorus, which always carries its point over the passionate⁹ excesses and extravagances of kings—may be ever so forcibly suggested by an observation of Aristotle: still it has no bearing on the original formation of tragedy, inasmuch as the entire antithesis¹⁰ of king and people, and, in general, the whole politico-social sphere, is excluded from the purely¹¹ religious beginnings of tragedy; but, considering the well-known classical form of the chorus in ?schylus and Sophocles, we should even deem it blasphemy¹² to speak here of the anticipation¹³ of a "constitutional representation of the people," from which blasphemy others have not shrunk, however. The ancient governments knew of no constitutional representation of the people in praxi, and it is to[Pg 57] be hoped that they did not even so much as "anticipate" it in tragedy.

Much more celebrated¹⁴ than this political explanation of the chorus is the notion of A. W. Schlegel, who advises us to regard the chorus, in a manner, as the essence and extract of the crowd of spectators,—as the "ideal spectator." This view when compared with the historical tradition that tragedy was originally only chorus, reveals itself in its true character, as a crude, unscientific, yet brilliant assertion, which, however, has acquired its brilliancy only through its concentrated form of expression, through the truly Germanic bias¹⁵ in favour of whatever is called "ideal," and through our momentary¹⁶ astonishment¹⁷. For we are indeed astonished the moment we compare our well-known theatrical¹⁸ public with this chorus, and ask ourselves if it could ever be possible to idealise something analogous¹⁹ to the Greek chorus out of such a public. We tacitly deny this, and now wonder as much at the boldness of Schlegel's assertion as at the totally different nature of the Greek public. For hitherto we always believed that the true spectator, be he who he may, had always to remain conscious of having before him a work of art, and not an empiric reality: whereas the tragic chorus of the Greeks is compelled to recognise real beings in the figures of the stage. The chorus of the Oceanides really believes that it sees before it the Titan Prometheus, and considers itself as real as the god of the scene. And are we to own that he is the highest and purest type of spectator, who, like the Oceanides, regards Prometheus as[Pg 58] real and present in body? And is it characteristic of the ideal spectator that he should run on the stage and free the god from his torments²⁰? We had believed in an ?sthetic public, and considered the individual spectator the better qualified²¹ the more he was capable of viewing a work of art as art, that is, ?sthetically; but now the Schlegelian expression has intimated to us, that the perfect ideal spectator does not at all suffer the world of the scenes to act ?sthetically on him, but corporeo-empirically. Oh, these Greeks! we have sighed; they will upset our ?sthetics! But once accustomed to it, we have reiterated²² the saying of Schlegel, as often as the subject of the chorus has been broached²³.

But the tradition which is so explicit²⁴ here speaks against Schlegel: the chorus as such, without the stage,—the primitive²⁵ form of tragedy,—and the chorus of ideal spectators do not harmonise. What kind of art would that be which was extracted from the concept of the spectator, and whereof we are to regard the "spectator as such" as the true form? The spectator without the play is something absurd. We fear that the birth of tragedy can be explained neither by the high esteem²⁶ for the moral intelligence of the multitude nor by the concept of the spectator without the play; and we regard the problem as too deep to be even so much as touched by such superficial modes of contemplation.

An infinitely²⁷ more valuable insight into the signification of the chorus had already been displayed by Schiller in the celebrated Preface to his[Pg 59] Bride of Messina, where he regarded the chorus as a living wall which tragedy draws round herself to guard her from contact with the world of reality, and to preserve her ideal domain²⁸ and poetical²⁹ freedom.

It is with this, his chief weapon, that Schiller combats the ordinary conception of the natural, the illusion ordinarily required in dramatic poetry. He contends that while indeed the day on the stage is merely artificial, the architecture only symbolical³⁰, and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the main: that it is not enough to tolerate merely as a poetical license³¹ that which is in reality the essence of all poetry. The introduction of the chorus is, he says, the decisive step by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging³² this mode of contemplation that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that we on the other hand with our present worship of the natural and the real have landed at the nadir³³ of all idealism, namely in the region of cabinets of wax-figures. An art indeed exists also here, as in certain novels much in vogue³⁴ at present: but let no one pester³⁵ us with the claim that by this art the Schiller-Goethian "Pseudo-idealism" has been vanquished³⁶.

It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek satyric chorus, the chorus of primitive tragedy, was wont³⁷ to walk, a domain raised far above the actual path[Pg 60] of mortals. The Greek framed for this chorus the suspended scaffolding of a fictitious³⁸ natural state and placed thereon fictitious natural beings. It is on this foundation that tragedy grew up, and so it could of course dispense³⁹ from the very first with a painful portrayal⁴⁰ of reality. Yet it is, not an arbitrary world placed by fancy betwixt heaven and earth; rather is it a world possessing the same reality and trustworthiness that Olympus with its dwellers⁴¹ possessed⁴² for the believing Hellene. The satyr, as being the Dionysian chorist, lives in a religiously acknowledged reality under the sanction of the myth and cult⁴³. That tragedy begins with him, that the Dionysian wisdom of tragedy speaks through him, is just as surprising a phenomenon to us as, in general, the derivation of tragedy from the chorus. Perhaps we shall get a starting-point for our inquiry⁴⁴, if I put forward the proposition that the satyr, the fictitious natural being, is to the man of culture what Dionysian music is to civilisation⁴⁵. Concerning this latter, Richard Wagner says that it is neutralised by music even as lamplight by daylight. In like manner, I believe, the Greek man of culture felt himself neutralised in the presence of the satyric chorus: and this is the most immediate⁴⁶ effect of the Dionysian tragedy, that the state and society, and, in general, the gaps between man and man give way to an overwhelming feeling of oneness, which leads back to the heart of nature. The metaphysical comfort,—with which, as I have here intimated, every true tragedy dismisses us—that, in spite of the perpetual change of phenomena,[Pg 61] life at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal⁴⁷ lucidity⁴⁸ as the satyric chorus, as the chorus of natural beings, who live ineradicable as it were behind all civilisation, and who, in spite of the ceaseless change of generations and the history of nations, remain for ever the same.

With this chorus the deep-minded Hellene, who is so singularly qualified for the most delicate and severe suffering, consoles himself:—he who has glanced with piercing eye into the very heart of the terrible destructive processes of so-called universal history, as also into the cruelty of nature, and is in danger of longing⁴⁹ for a Buddhistic⁵⁰ negation⁵¹ of the will. Art saves him, and through art life saves him—for herself.

For we must know that in the rapture⁵² of the Dionysian state, with its annihilation of the ordinary bounds and limits of existence, there is a lethargic⁵³ element, wherein all personal experiences of the past are submerged. It is by this gulf⁵⁴ of oblivion that the everyday world and the world of Dionysian reality are separated from each other. But as soon as this everyday reality rises again in consciousness, it is felt as such, and nauseates⁵⁵ us; an ascetic⁵⁷ will-paralysing mood is the fruit of these states. In this sense the Dionysian man may be said to resemble Hamlet: both have for once seen into the true nature of things, —they have perceived, but they are loath⁵⁸ to act; for their action cannot change the eternal nature of things; they regard it as shameful⁵⁹ or ridiculous that one should require of them to set aright the[Pg 62] time which is out of joint⁶⁰. Knowledge kills action, action requires the veil of illusion—it is this lesson which Hamlet teaches, and not the cheap wisdom of John-a-Dreams who from too much reflection, as it were from a surplus of possibilities, does not arrive at action at all. Not reflection, no!—true knowledge, insight into appalling⁶¹ truth, preponderates⁶² over all motives⁶³ inciting⁶⁴ to action, in Hamlet as well as in the Dionysian man. No comfort avails any longer; his longing goes beyond a world after death, beyond the gods themselves; existence with its glittering reflection in the gods, or in an immortal⁶⁵ other world is abjured⁶⁶. In the consciousness of the truth he has perceived, man now sees everywhere only the awfulness or the absurdity of existence, he now understands the symbolism in the fate of Ophelia, he now discerns the wisdom of the sylvan⁶⁷ god Silenus: and loathing⁶⁸ seizes him.

Here, in this extremest danger of the will, art approaches, as a saving and healing enchantress; she alone is able to transform these nauseating⁶⁹ reflections on the awfulness or absurdity of existence into representations wherewith it is possible to live: these are the representations of the sublime as the artistic⁷⁰ subjugation⁷¹ of the awful, and the comic as the artistic delivery from the nausea⁵⁶ of the absurd. The satyric chorus of dithyramb is the saving deed of Greek art; the paroxysms described above spent their force in the intermediary world of these Dionysian followers⁷².

1 labyrinth   

n.迷宫；难解的事物；迷路

参考例句：

• He wandered through the labyrinth of the alleyways.他在迷宫似的小巷中闲逛。
• The human mind is a labyrinth.人的心灵是一座迷宫。

2 absurdity   

n.荒谬，愚蠢；谬论

参考例句：

• The proposal borders upon the absurdity.这提议近乎荒谬。
• The absurdity of the situation made everyone laugh.情况的荒谬可笑使每个人都笑了。

3 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。

4 asunder   

adj.分离的，化为碎片

参考例句：

• The curtains had been drawn asunder.窗帘被拉向两边。
• Your conscience,conviction,integrity,and loyalties were torn asunder.你的良心、信念、正直和忠诚都被扯得粉碎了。

5 tragic   

adj.悲剧的，悲剧性的，悲惨的

参考例句：

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

6 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

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

7 immutable   

adj.不可改变的，永恒的

参考例句：

• Nothing in the world is immutable.世界没有一成不变的东西。
• They free our minds from considering our world as fixed and immutable.它们改变着人们将世界看作是永恒不变的观点。

8 embodied   

v.表现( embody的过去式和过去分词 )；象征；包括；包含

参考例句：

• a politician who embodied the hopes of black youth 代表黑人青年希望的政治家
• The heroic deeds of him embodied the glorious tradition of the troops. 他的英雄事迹体现了军队的光荣传统。 来自《简明英汉词典》

9 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。

10 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。

11 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

12 blasphemy   

n.亵渎，渎神

参考例句：

• His writings were branded as obscene and a blasphemy against God.他的著作被定为淫秽作品，是对上帝的亵渎。
• You have just heard his blasphemy!你刚刚听到他那番亵渎上帝的话了！

13 anticipation   

n.预期，预料，期望

参考例句：

• We waited at the station in anticipation of her arrival.我们在车站等着，期待她的到来。
• The animals grew restless as if in anticipation of an earthquake.各种动物都变得焦躁不安，像是感到了地震即将发生。

14 celebrated   

adj.有名的，声誉卓著的

参考例句：

• He was soon one of the most celebrated young painters in England.不久他就成了英格兰最负盛名的年轻画家之一。
• The celebrated violinist was mobbed by the audience.观众团团围住了这位著名的小提琴演奏家。

15 bias   

n.偏见，偏心，偏袒；vt.使有偏见

参考例句：

• They are accusing the teacher of political bias in his marking.他们在指控那名教师打分数有政治偏见。
• He had a bias toward the plan.他对这项计划有偏见。

16 momentary   

adj.片刻的，瞬息的；短暂的

参考例句：

• We are in momentary expectation of the arrival of you.我们无时无刻不在盼望你的到来。
• I caught a momentary glimpse of them.我瞥了他们一眼。

17 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。

18 theatrical   

adj.剧场的，演戏的；做戏似的，做作的

参考例句：

• The final scene was dismayingly lacking in theatrical effect.最后一场缺乏戏剧效果，叫人失望。
• She always makes some theatrical gesture.她老在做些夸张的手势。

19 analogous   

adj.相似的；类似的

参考例句：

• The two situations are roughly analogous.两种情況大致相似。
• The company is in a position closely analogous to that of its main rival.该公司与主要竞争对手的处境极为相似。

20 torments   

（肉体或精神上的）折磨，痛苦( torment的名词复数 )； 造成痛苦的事物[人]

参考例句：

• He released me from my torments. 他解除了我的痛苦。
• He suffered torments from his aching teeth. 他牙痛得难受。

21 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。

22 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。

23 broached   

v.谈起( broach的过去式和过去分词 )；打开并开始用；用凿子扩大（或修光）；（在桶上）钻孔取液体

参考例句：

• She broached the subject of a picnic to her mother. 她向母亲提起野餐的问题。 来自辞典例句
• He broached the subject to the stranger. 他对陌生人提起那话题。 来自辞典例句

24 explicit   

adj.详述的，明确的；坦率的；显然的

参考例句：

• She was quite explicit about why she left.她对自己离去的原因直言不讳。
• He avoids the explicit answer to us.他避免给我们明确的回答。

25 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。

26 esteem   

n.尊敬，尊重；vt.尊重，敬重；把…看作

参考例句：

• I did not esteem him to be worthy of trust.我认为他不值得信赖。
• The veteran worker ranks high in public love and esteem.那位老工人深受大伙的爱戴。

27 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。

28 domain   

n.(活动等)领域，范围；领地，势力范围

参考例句：

• This information should be in the public domain.这一消息应该为公众所知。
• This question comes into the domain of philosophy.这一问题属于哲学范畴。

29 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

30 symbolical   

a.象征性的

参考例句：

• The power of the monarchy in Britain today is more symbolical than real. 今日英国君主的权力多为象徵性的，无甚实际意义。
• The Lord introduces the first symbolical language in Revelation. 主说明了启示录中第一个象徵的语言。

31 license   

n.执照，许可证，特许；v.许可，特许

参考例句：

• The foreign guest has a license on the person.这个外国客人随身携带执照。
• The driver was arrested for having false license plates on his car.司机由于使用假车牌而被捕。

32 disparaging   

adj.轻蔑的，毁谤的v.轻视( disparage的现在分词 )；贬低；批评；非难

参考例句：

• Halliday's comments grew daily more and more sparklingly disagreeable and disparaging. 一天天过去，哈里代的评论越来越肆无忌惮，越来越讨人嫌，越来越阴损了。 来自英汉文学 - 败坏赫德莱堡
• Even with favorable items they would usually add some disparaging comments. 即使对好消息，他们也往往要加上几句诋毁的评语。 来自互联网

33 nadir   

n.最低点，无底

参考例句：

• This failure was the nadir of her career.这次失败是她事业上的低谷。
• The demand for this product will reach its nadir within two years.对此产品的需求在两年内将达到最低点。

34 Vogue   

n.时髦，时尚；adj.流行的

参考例句：

• Flowery carpets became the vogue.花卉地毯变成了时髦货。
• Short hair came back into vogue about ten years ago.大约十年前短发又开始流行起来了。

35 pester   

v.纠缠，强求

参考例句：

• He told her not to pester him with trifles.他对她说不要为小事而烦扰他。
• Don't pester me.I've got something urgent to attend to.你别跟我蘑菇了，我还有急事呢。

36 vanquished   

v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制

参考例句：

• She had fought many battles, vanquished many foes. 她身经百战，挫败过很多对手。 来自《简明英汉词典》
• I vanquished her coldness with my assiduity. 我对她关心照顾从而消除了她的冷淡。 来自《现代英汉综合大词典》

37 wont   

adj.习惯于；v.习惯；n.习惯

参考例句：

• He was wont to say that children are lazy.他常常说小孩子们懒惰。
• It is his wont to get up early.早起是他的习惯。

38 fictitious   

adj.虚构的，假设的；空头的

参考例句：

• She invented a fictitious boyfriend to put him off.她虚构出一个男朋友来拒绝他。
• The story my mother told me when I was young is fictitious.小时候妈妈对我讲的那个故事是虚构的。

39 dispense   

vt.分配，分发；配(药)，发(药)；实施

参考例句：

• Let us dispense the food.咱们来分发这食物。
• The charity has been given a large sum of money to dispense as it sees fit.这个慈善机构获得一大笔钱，可自行适当分配。

40 portrayal   

n.饰演；描画

参考例句：

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

41 dwellers   

n.居民，居住者( dweller的名词复数 )

参考例句：

• City dwellers think country folk have provincial attitudes. 城里人以为乡下人思想迂腐。 来自《简明英汉词典》
• They have transformed themselves into permanent city dwellers. 他们已成为永久的城市居民。 来自《简明英汉词典》

42 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。

43 cult   

n.异教，邪教；时尚，狂热的崇拜

参考例句：

• Her books aren't bestsellers,but they have a certain cult following.她的书算不上畅销书，但有一定的崇拜者。
• The cult of sun worship is probably the most primitive one.太阳崇拜仪式或许是最为原始的一种。

44 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。

45 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。

46 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。

47 corporeal   

adj.肉体的，身体的；物质的

参考例句：

• The body is the corporeal habitation of the soul.身体为灵魂之有形寓所。
• He is very religious;corporeal world has little interest for him.他虔信宗教，对物质上的享受不感兴趣。

48 lucidity   

n.明朗，清晰，透明

参考例句：

• His writings were marked by an extraordinary lucidity and elegance of style.他的作品简洁明晰，文风典雅。
• The pain had lessened in the night, but so had his lucidity.夜里他的痛苦是减轻了，但人也不那么清醒了。

49 longing   

n.（for）渴望

参考例句：

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

50 Buddhistic   

adj.佛陀的，佛教的

参考例句：

• Among his ideologies, the Buddhistic ideology was the leading one. 其中 ，佛教思想占主导地位。 来自互联网
• Buddhistic culture tourism has historically been an essential conponent of the tourist industy. 佛教文化旅游 ，自古以来就是旅游活动的重要组成部分。 来自互联网

51 negation   

n.否定；否认

参考例句：

• No reasonable negation can be offered.没有合理的反对意见可以提出。
• The author boxed the compass of negation in his article.该作者在文章中依次探讨了各种反面的意见。

52 rapture   

n.狂喜；全神贯注；着迷；v.使狂喜

参考例句：

• His speech was received with rapture by his supporters.他的演说受到支持者们的热烈欢迎。
• In the midst of his rapture,he was interrupted by his father.他正欢天喜地，被他父亲打断了。

53 lethargic   

adj.昏睡的，懒洋洋的

参考例句：

• He felt too miserable and lethargic to get dressed.他心情低落无精打采，完全没有心思穿衣整装。
• The hot weather made me feel lethargic.炎热的天气使我昏昏欲睡。

54 gulf   

n.海湾；深渊，鸿沟；分歧，隔阂

参考例句：

• The gulf between the two leaders cannot be bridged.两位领导人之间的鸿沟难以跨越。
• There is a gulf between the two cities.这两座城市间有个海湾。

55 nauseates   

v.使恶心，作呕( nauseate的第三人称单数 )

参考例句：

• The idea of eating raw shellfish nauseates me. 我一想到吃生贝就恶心。 来自《简明英汉词典》

56 nausea   

n.作呕，恶心；极端的憎恶(或厌恶)

参考例句：

• Early pregnancy is often accompanied by nausea.怀孕期常有恶心的现象。
• He experienced nausea after eating octopus.吃了章鱼后他感到恶心。

57 ascetic   

adj.禁欲的；严肃的

参考例句：

• The hermit followed an ascetic life-style.这个隐士过的是苦行生活。
• This is achieved by strict celibacy and ascetic practices.这要通过严厉的独身生活和禁欲修行而达到。

58 loath   

adj.不愿意的；勉强的

参考例句：

• The little girl was loath to leave her mother.那小女孩不愿离开她的母亲。
• They react on this one problem very slow and very loath.他们在这一问题上反应很慢，很不情愿。

59 shameful   

adj.可耻的，不道德的

参考例句：

• It is very shameful of him to show off.他向人炫耀自己，真不害臊。
• We must expose this shameful activity to the newspapers.我们一定要向报社揭露这一无耻行径。

60 joint   

adj.联合的，共同的；n.关节，接合处；v.连接，贴合

参考例句：

• I had a bad fall,which put my shoulder out of joint.我重重地摔了一跤，肩膀脫臼了。
• We wrote a letter in joint names.我们联名写了封信。

61 appalling   

adj.骇人听闻的，令人震惊的，可怕的

参考例句：

• The search was hampered by appalling weather conditions.恶劣的天气妨碍了搜寻工作。
• Nothing can extenuate such appalling behaviour.这种骇人听闻的行径罪无可恕。

62 preponderates   

v.超过，胜过( preponderate的第三人称单数 )

参考例句：

• This reason preponderates over all others. 这个理由较所有其他理由重要。 来自辞典例句

63 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。

64 inciting   

刺激的，煽动的

参考例句：

• What are you up to inciting mutiny and insubordination? 你们干吗在这里煽动骚动的叛乱呀。
• He was charged with inciting people to rebel. 他被控煽动民众起来叛乱。

65 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！

66 abjured   

v.发誓放弃( abjure的过去式和过去分词 )；郑重放弃（意见）；宣布撤回（声明等）；避免

参考例句：

• She abjured her beliefs. 她放弃了她的信仰。 来自互联网
• TAe man abjured his religion. 那个人发誓放弃他的宗教信仰。 来自互联网

67 sylvan   

adj.森林的

参考例句：

• Venerable oaks forms a sylvan archway.古老的栎树形成一条林荫拱道。
• They lived in a sylvan retreat.他们住在一个林中休养地。

68 loathing   

n.厌恶，憎恨v.憎恨，厌恶( loathe的现在分词)；极不喜欢

参考例句：

• She looked at her attacker with fear and loathing . 她盯着襲擊她的歹徒，既害怕又憎恨。
• They looked upon the creature with a loathing undisguised. 他们流露出明显的厌恶看那动物。 来自《现代英汉综合大词典》

69 nauseating   

adj.令人恶心的，使人厌恶的v.使恶心，作呕( nauseate的现在分词 )

参考例句：

• I had to listen to the whole nauseating story. 我不得不从头到尾听那令人作呕的故事。 来自《现代汉英综合大词典》
• There is a nauseating smell of rotten food. 有一股令人恶心的腐烂食物的气味。 来自《简明英汉词典》

70 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。

71 subjugation   

n.镇压，平息，征服

参考例句：

• The Ultra-Leftist line was a line that would have wrecked a country, ruined the people, and led to the destruction of the Party and national subjugation. 极左路线是一条祸国殃民的路线，亡党亡国的路线。 来自《现代汉英综合大词典》
• This afflicted German intelligence with two fatal flaws: inefficiency, and subjugation to a madman. 这给德国情报工作造成了两个致命的弱点，一个是缺乏效率，另一个是让一个疯子总管情报。 来自辞典例句

72 followers   

追随者( follower的名词复数 )； 用户； 契据的附面； 从动件

参考例句：

• the followers of Mahatma Gandhi 圣雄甘地的拥护者
• The reformer soon gathered a band of followers round him. 改革者很快就获得一群追随者支持他。