chapter 8

 The satyr, like the idyllic¹ shepherd of our more recent time, is the offspring of a longing² after the Primitive³ and the Natural; but mark with what firmness and fearlessness the Greek embraced the man of the woods, and again, how coyly and mawkishly⁴ the modern man dallied⁵ with the flattering picture of a tender, flute-playing, soft-natured shepherd! Nature, on which as yet no knowledge has been at work, which maintains unbroken barriers to culture—this is what the Greek saw in his satyr, which still was not on this account supposed to coincide with the ape. On the contrary: it was the archetype of man, the embodiment of his highest and strongest emotions, as the enthusiastic reveller⁶ enraptured⁷ By the proximity⁸ of his god, as the fellow-suffering companion in whom the suffering of the god repeats itself, as the herald⁹ of wisdom speaking from the very depths of nature, as the emblem¹⁰ of the sexual omnipotence¹¹ of nature, which the Greek was wont¹² to contemplate¹³ with reverential awe¹⁴. The satyr was something sublime¹⁵ and godlike: he could not but appear so, especially to the sad and wearied eye of the Dionysian man. He would have been offended by our spurious tricked-up shepherd, while his eye dwelt with sublime satisfaction on the naked and unstuntedly magnificent characters of nature: here the illusion of culture was brushed away from the archetype of man; here the true man, the bearded satyr, revealed himself, who shouts joyfully¹⁶ to his god. Before[Pg 64] him the cultured man shrank to a lying caricature. Schiller is right also with reference to these beginnings of tragic¹⁸ art: the chorus is a living bulwark¹⁹ against the onsets²⁰ of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly²¹ than the cultured man who ordinarily considers himself as the only reality. The sphere of poetry does not lie outside the world, like some fantastic impossibility of a poet's imagination: it seeks to be the very opposite, the unvarnished expression of truth, and must for this very reason cast aside the false finery of that supposed reality of the cultured man. The contrast between this intrinsic truth of nature and the falsehood of culture, which poses as the only reality, is similar to that existing between the eternal kernel²² of things, the thing in itself, and the collective world of phenomena²³. And even as tragedy, with its metaphysical comfort, points to the eternal life of this kernel of existence, notwithstanding the perpetual dissolution of phenomena, so the symbolism of the satyric chorus already expresses figuratively this primordial²⁴ relation between the thing in itself and phenomenon. The idyllic shepherd of the modern man is but a copy of the sum of the illusions of culture which he calls nature; the Dionysian Greek desires truth and nature in their most potent²⁵ form;—he sees himself metamorphosed into the satyr.

The revelling²⁶ crowd of the votaries²⁷ of Dionysus rejoices, swayed by such moods and perceptions, the power of which transforms them before their[Pg 65] own eyes, so that they imagine they behold²⁸ themselves as reconstituted genii of nature, as satyrs. The later constitution of the tragic chorus is the artistic²⁹ imitation of this natural phenomenon, which of course required a separation of the Dionysian spectators from the enchanted³⁰ Dionysians. However, we must never lose sight of the fact that the public of the Attic³¹ tragedy rediscovered itself in the chorus of the orchestra, that there was in reality no antithesis³² of public and chorus: for all was but one great sublime chorus of dancing and singing satyrs, or of such as allowed themselves to be represented by the satyrs. The Schlegelian observation must here reveal itself to us in a deeper sense. The chorus is the "ideal spectator"[5] in so far as it is the only beholder³³,[6] the beholder of the visionary world of the scene. A public of spectators, as known to us, was unknown to the Greeks. In their theatres the terraced structure of the spectators' space rising in concentric arcs enabled every one, in the strictest sense, to overlook the entire world of culture around him, and in surfeited³⁴ contemplation to imagine himself a chorist. According to this view, then, we may call the chorus in its primitive stage in proto-tragedy, a self-mirroring of the Dionysian man: a phenomenon which may be best exemplified by the process of the actor, who, if he be truly gifted, sees hovering³⁵ before his eyes with almost tangible³⁶ perceptibility the character he is to represent. The satyric chorus is first of all a[Pg 66] vision of the Dionysian throng³⁷, just as the world of the stage is, in turn, a vision of the satyric chorus: the power of this vision is great enough to render the eye dull and insensible to the impression of "reality," to the presence of the cultured men occupying the tiers of seats on every side. The form of the Greek theatre reminds one of a lonesome mountain-valley: the architecture of the scene appears like a luminous³⁸ cloud-picture which the Bacchants swarming³⁹ on the mountains behold from the heights, as the splendid encirclement in the midst of which the image of Dionysus is revealed to them.

Owing to our learned conception of the elementary artistic processes, this artistic proto-phenomenon, which is here introduced to explain the tragic chorus, is almost shocking: while nothing can be more certain than that the poet is a poet only in that he beholds⁴⁰ himself surrounded by forms which live and act before him, into the innermost being of which his glance penetrates⁴¹. By reason of a strange defeat in our capacities, we modern men are apt to represent to ourselves the ?sthetic proto-phenomenon as too complex and abstract. For the true poet the metaphor⁴² is not a rhetorical figure, but a vicarious image which actually hovers⁴³ before him in place of a concept. The character is not for him an aggregate⁴⁴ composed of a studied collection of particular traits, but an irrepressibly live person appearing before his eyes, and differing only from the corresponding vision of the painter by its ever continued life and action. Why is it that[Pg 67] Homer sketches⁴⁵ much more vividly[7] than all the other poets? Because he contemplates[8] much more. We talk so abstractly about poetry, because we are all wont to be bad poets. At bottom the ?sthetic phenomenon is simple: let a man but have the faculty⁴⁶ of perpetually seeing a lively play and of constantly living surrounded by hosts of spirits, then he is a poet: let him but feel the impulse to transform himself and to talk from out the bodies and souls of others, then he is a dramatist.

The Dionysian excitement is able to impart to a whole mass of men this artistic faculty of seeing themselves surrounded by such a host of spirits, with whom they know themselves to be inwardly one. This function of the tragic chorus is the dramatic proto-phenomenon: to see one's self transformed before one's self, and then to act as if one had really entered into another body, into another character. This function stands at the beginning of the development of the drama. Here we have something different from the rhapsodist, who does not blend with his pictures, but only sees them, like the painter, with contemplative eye outside of him; here we actually have a surrender of the individual by his entering into another nature. Moreover this phenomenon appears in the form of an epidemic⁴⁷: a whole throng feels itself metamorphosed in this wise. Hence it is that the dithyramb is essentially⁴⁸ different from every other variety of the choric song. The virgins⁴⁹, who with[Pg 68] laurel twigs⁵⁰ in their hands solemnly proceed to the temple of Apollo and sing a processional hymn⁵¹, remain what they are and retain their civic⁵² names: the dithyrambic chorus is a chorus of transformed beings, whose civic past and social rank are totally forgotten: they have become the timeless servants of their god that live aloof⁵³ from all the spheres of society. Every other variety of the choric lyric⁵⁴ of the Hellenes is but an enormous enhancement of the Apollonian unit-singer: while in the dithyramb we have before us a community of unconscious actors, who mutually regard themselves as transformed among one another.

This enchantment⁵⁵ is the prerequisite⁵⁶ of all dramatic art. In this enchantment the Dionysian reveller sees himself as a satyr, and as satyr he in turn beholds the god, that is, in his transformation⁵⁷ he sees a new vision outside him as the Apollonian consummation of his state. With this new vision the drama is complete.

According to this view, we must understand Greek tragedy as the Dionysian chorus, which always disburdens itself anew in an Apollonian world of pictures. The choric parts, therefore, with which tragedy is interlaced, are in a manner the mother-womb of the entire so-called dialogue, that is, of the whole stage-world, of the drama proper. In several successive outbursts does this primordial basis of tragedy beam forth⁵⁸ the vision of the drama, which is a dream-phenomenon throughout, and, as such, epic⁵⁹ in character: on the other hand, however, as objectivation of a[Pg 69] Dionysian state, it does not represent the Apollonian redemption in appearance, but, conversely, the dissolution of the individual and his unification with primordial existence. Accordingly, the drama is the Apollonian embodiment of Dionysian perceptions and influences, and is thereby⁶⁰ separated from the epic as by an immense gap.

The chorus of Greek tragedy, the symbol of the mass of the people moved by Dionysian excitement, is thus fully¹⁷ explained by our conception of it as here set forth. Whereas, being accustomed to the position of a chorus on the modern stage, especially an operatic chorus, we could never comprehend why the tragic chorus of the Greeks should be older, more primitive, indeed, more important than the "action" proper,—as has been so plainly declared by the voice of tradition; whereas, furthermore, we could not reconcile with this traditional paramount⁶¹ importance and primitiveness⁶² the fact of the chorus' being composed only of humble⁶³, ministering beings; indeed, at first only of goatlike satyrs; whereas, finally, the orchestra before the scene was always a riddle⁶⁴ to us; we have learned to comprehend at length that the scene, together with the action, was fundamentally and originally conceived only as a vision, that the only reality is just the chorus, which of itself generates the vision and speaks thereof with the entire symbolism of dancing, tone, and word. This chorus beholds in the vision its lord and master Dionysus, and is thus for ever the serving chorus: it sees how he, the god, suffers and glorifies⁶⁵ himself, and therefore does not itself act.[Pg 70] But though its attitude towards the god is throughout the attitude of ministration, this is nevertheless the highest expression, the Dionysian expression of Nature, and therefore, like Nature herself, the chorus utters oracles⁶⁶ and wise sayings when transported with enthusiasm: as fellow-sufferer it is also the sage⁶⁷ proclaiming truth from out the heart of Nature. Thus, then, originates the fantastic figure, which seems so shocking, of the wise and enthusiastic satyr, who is at the same time "the dumb man" in contrast to the god: the image of Nature and her strongest impulses, yea, the symbol of Nature, and at the same time the herald of her art and wisdom: musician, poet, dancer, and visionary in one person.

Agreeably to this view, and agreeably to tradition, Dionysus, the proper stage-hero and focus of vision, is not at first actually present in the oldest period of tragedy, but is only imagined as present: i.e., tragedy is originally only "chorus" and not "drama." Later on the attempt is made to exhibit the god as real and to display the visionary figure together with its glorifying⁶⁸ encirclement before the eyes of all; it is here that the "drama" in the narrow sense of the term begins. To the dithyrambic chorus is now assigned the task of exciting the minds of the hearers to such a pitch of Dionysian frenzy⁶⁹, that, when the tragic hero appears on the stage, they do not behold in him, say, the unshapely masked man, but a visionary figure, born as it were of their own ecstasy⁷⁰. Let us picture Admetes thinking[Pg 71] in profound meditation⁷¹ of his lately departed wife Alcestis, and quite consuming himself in spiritual contemplation thereof—when suddenly the veiled figure of a woman resembling her in form and gait is led towards him: let us picture his sudden trembling anxiety, his agitated⁷² comparisons, his instinctive⁷³ conviction—and we shall have an analogon to the sensation with which the spectator, excited to Dionysian frenzy, saw the god approaching on the stage, a god with whose sufferings he had already become identified. He involuntarily transferred the entire picture of the god, fluttering magically before his soul, to this masked figure and resolved its reality as it were into a phantasmal unreality. This is the Apollonian dream-state, in which the world of day is veiled, and a new world, clearer, more intelligible⁷⁴, more striking than the former, and nevertheless more shadowy, is ever born anew in perpetual change before our eyes. We accordingly recognise in tragedy a thorough-going stylistic contrast: the language, colour, flexibility⁷⁵ and dynamics⁷⁶ of the dialogue fall apart in the Dionysian lyrics⁷⁷ of the chorus on the one hand, and in the Apollonian dream-world of the scene on the other, into entirely⁷⁸ separate spheres of expression. The Apollonian appearances, in which Dionysus objectifies himself, are no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben,"[9] as is the music of the chorus,[Pg 72] they are no longer the forces merely felt, but not condensed into a picture, by which the inspired votary⁷⁹ of Dionysus divines the proximity of his god: the clearness and firmness of epic form now speak to him from the scene, Dionysus now no longer speaks through forces, but as an epic hero, almost in the language of Homer.

1 idyllic   

adj.质朴宜人的，田园风光的

参考例句：

• These scenes had an idyllic air.这种情景多少有点田园气氛。
• Many people living in big cities yearn for an idyllic country life.现在的很多都市人向往那种田园化的生活。

2 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。

3 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。

4 mawkishly   

adv.mawkish（淡而无味的）的变形

参考例句：

• The violinist played that piece mawkishly. 小提琴演奏者演奏的那段乐章很难听。 来自互联网
• It is marred, however, by songs that editorialize mawkishly about the children's plight. 但是，它被吵闹而乏味的关于小孩子困境的评论文章污损了。 来自互联网

5 dallied   

v.随随便便地对待( dally的过去式和过去分词 )；不很认真地考虑；浪费时间；调情

参考例句：

• He dallied with the idea of becoming an actor. 他对当演员一事考虑过，但并不认真。 来自《简明英汉词典》
• He dallied in the stores. 他在商店里闲逛。 来自《简明英汉词典》

6 reveller   

n.摆设酒宴者，饮酒狂欢者

参考例句：

7 enraptured   

v.使狂喜( enrapture的过去式和过去分词 )

参考例句：

• He was enraptured that she had smiled at him. 她对他的微笑使他心荡神驰。 来自《简明英汉词典》
• They were enraptured to meet the great singer. 他们和大名鼎鼎的歌手见面，欣喜若狂。 来自《简明英汉词典》

8 proximity   

n.接近，邻近

参考例句：

• Marriages in proximity of blood are forbidden by the law.法律规定禁止近亲结婚。
• Their house is in close proximity to ours.他们的房子很接近我们的。

9 herald   

vt.预示...的来临，预告，宣布，欢迎

参考例句：

• In England, the cuckoo is the herald of spring.在英国杜鹃鸟是报春的使者。
• Dawn is the herald of day.曙光是白昼的先驱。

10 emblem   

n.象征，标志；徽章

参考例句：

• Her shirt has the company emblem on it.她的衬衫印有公司的标记。
• The eagle was an emblem of strength and courage.鹰是力量和勇气的象征。

11 omnipotence   

n.全能，万能，无限威力

参考例句：

• Central bankers have never had any illusions of their own omnipotence. 中行的银行家们已经不再对于他们自己的无所不能存有幻想了。 来自互联网
• Introduce an omnipotence press automatism dividing device, explained it operation principle. 介绍了冲压万能自动分度装置，说明了其工作原理。 来自互联网

12 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。

13 contemplate   

vt.盘算，计议；周密考虑；注视，凝视

参考例句：

• The possibility of war is too horrifying to contemplate.战争的可能性太可怕了，真不堪细想。
• The consequences would be too ghastly to contemplate.后果不堪设想。

14 awe   

n.敬畏，惊惧；vt.使敬畏，使惊惧

参考例句：

• The sight filled us with awe.这景色使我们大为惊叹。
• The approaching tornado struck awe in our hearts.正在逼近的龙卷风使我们惊恐万分。

15 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。

16 joyfully   

adv. 喜悦地, 高兴地

参考例句：

• She tripped along joyfully as if treading on air. 她高兴地走着，脚底下轻飘飘的。
• During these first weeks she slaved joyfully. 在最初的几周里，她干得很高兴。

17 fully   

adv.完全地，全部地，彻底地；充分地

参考例句：

• The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。
• They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

18 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。

19 bulwark   

n.堡垒，保障，防御

参考例句：

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

20 onsets   

攻击，袭击（onset的复数形式）

参考例句：

• The onsets were closely timed. 进攻一轮紧接着一轮。

21 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

22 kernel   

n.(果实的)核，仁；(问题)的中心，核心

参考例句：

• The kernel of his problem is lack of money.他的问题的核心是缺钱。
• The nutshell includes the kernel.果壳裹住果仁。

23 phenomena   

n.现象

参考例句：

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

24 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.

25 potent   

adj.强有力的，有权势的；有效力的

参考例句：

• The medicine had a potent effect on your disease.这药物对你的病疗效很大。
• We must account of his potent influence.我们必须考虑他的强有力的影响。

26 revelling   

v.作乐( revel的现在分词 )；狂欢；着迷；陶醉

参考例句：

• I think he's secretly revelling in all the attention. 我觉得他对于能够引起广泛的注意心里感到飘飘然。 来自《简明英汉词典》
• They were drinking and revelling all night. 他们整夜喝酒作乐。 来自《简明英汉词典》

27 votaries   

n.信徒( votary的名词复数 )；追随者；（天主教）修士；修女

参考例句：

28 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。

29 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。

30 enchanted   

adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词

参考例句：

• She was enchanted by the flowers you sent her. 她非常喜欢你送给她的花。
• He was enchanted by the idea. 他为这个主意而欣喜若狂。

31 attic   

n.顶楼，屋顶室

参考例句：

• Leakiness in the roof caused a damp attic.屋漏使顶楼潮湿。
• What's to be done with all this stuff in the attic?顶楼上的材料怎么处理？

32 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。

33 beholder   

n.观看者，旁观者

参考例句：

• Beauty is in the eye of the beholder. 看起来觉得美就是美。 来自《简明英汉词典》
• It has been said that art is a tryst, for in the joy of it maker and beholder meet. 有人说艺术是一种幽会，因为艺术家和欣赏者可在幽会的乐趣中相遇在一起。 来自《简明英汉词典》

34 surfeited   

v.吃得过多( surfeit的过去式和过去分词 )；由于过量而厌腻

参考例句：

• They were surfeited with entertainment. 他们对玩乐生厌了；他们玩腻了。 来自辞典例句
• They had cloyed him with obedience, and surfeited him with sweet respect and submission. 她们在他面前百依百顺，甜言蜜语，卑躬屈膝。 来自辞典例句

35 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。

36 tangible   

adj.有形的，可触摸的，确凿的，实际的

参考例句：

• The policy has not yet brought any tangible benefits.这项政策还没有带来任何实质性的好处。
• There is no tangible proof.没有确凿的证据。

37 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。

38 luminous   

adj.发光的，发亮的；光明的；明白易懂的；有启发的

参考例句：

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

39 swarming   

密集( swarm的现在分词 )； 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：

• The sacks of rice were swarming with bugs. 一袋袋的米里长满了虫子。
• The beach is swarming with bathers. 海滩满是海水浴的人。

40 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

41 penetrates   

v.穿过( penetrate的第三人称单数 )；刺入；了解；渗透

参考例句：

• This is a telescope that penetrates to the remote parts of the universe. 这是一架能看到宇宙中遥远地方的望远镜。 来自《简明英汉词典》
• The dust is so fine that it easily penetrates all the buildings. 尘土极细，能极轻易地钻入一切建筑物。 来自辞典例句

42 metaphor   

n.隐喻，暗喻

参考例句：

• Using metaphor,we say that computers have senses and a memory.打个比方，我们可以说计算机有感觉和记忆力。
• In poetry the rose is often a metaphor for love.玫瑰在诗中通常作为爱的象征。

43 hovers   

鸟( hover的第三人称单数 )； 靠近（某事物）； （人）徘徊； 犹豫

参考例句：

• A hawk hovers in the sky. 一只老鹰在天空盘旋。
• A hen hovers her chicks. 一只母鸡在孵小鸡。

44 aggregate   

adj.总计的，集合的；n.总数；v.合计；集合

参考例句：

• The football team had a low goal aggregate last season.这支足球队上个赛季的进球总数很少。
• The money collected will aggregate a thousand dollars.进帐总额将达一千美元。

45 sketches   

n.草图( sketch的名词复数 )；素描；速写；梗概

参考例句：

• The artist is making sketches for his next painting. 画家正为他的下一幅作品画素描。
• You have to admit that these sketches are true to life. 你得承认这些素描很逼真。 来自《简明英汉词典》

46 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。

47 epidemic   

n.流行病；盛行；adj.流行性的，流传极广的

参考例句：

• That kind of epidemic disease has long been stamped out.那种传染病早已绝迹。
• The authorities tried to localise the epidemic.当局试图把流行病限制在局部范围。

48 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。

49 virgins   

处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母）

参考例句：

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

50 twigs   

细枝，嫩枝( twig的名词复数 )

参考例句：

• Some birds build nests of twigs. 一些鸟用树枝筑巢。
• Willow twigs are pliable. 柳条很软。

51 hymn   

n.赞美诗，圣歌，颂歌

参考例句：

• They sang a hymn of praise to God.他们唱着圣歌，赞美上帝。
• The choir has sung only two verses of the last hymn.合唱团只唱了最后一首赞美诗的两个段落。

52 civic   

adj.城市的，都市的，市民的，公民的

参考例句：

• I feel it is my civic duty to vote.我认为投票选举是我作为公民的义务。
• The civic leaders helped to forward the project.市政府领导者协助促进工程的进展。

53 aloof   

adj.远离的；冷淡的，漠不关心的

参考例句：

• Never stand aloof from the masses.千万不可脱离群众。
• On the evening the girl kept herself timidly aloof from the crowd.这小女孩在晚会上一直胆怯地远离人群。

54 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。

55 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。

56 prerequisite   

n.先决条件；adj.作为前提的，必备的

参考例句：

• Stability and unity are a prerequisite to the four modernizations.安定团结是实现四个现代化的前提。
• It is a prerequisite of entry to the profession that you pass the exams.做这一行的先决条件是要通过了有关的考试。

57 transformation   

n.变化；改造；转变

参考例句：

• Going to college brought about a dramatic transformation in her outlook.上大学使她的观念发生了巨大的变化。
• He was struggling to make the transformation from single man to responsible husband.他正在努力使自己由单身汉变为可靠的丈夫。

58 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。

59 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。

60 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。

61 paramount   

a.最重要的，最高权力的

参考例句：

• My paramount object is to save the Union and destroy slavery.我的最高目标是拯救美国，摧毁奴隶制度。
• Nitrogen is of paramount importance to life on earth.氮对地球上的生命至关重要。

62 primitiveness   

原始，原始性

参考例句：

• Recently attained characters are generally indicative of primitiveness. 新近获得的性状普遍显示出原始性的分类群。

63 humble   

adj.谦卑的，恭顺的；地位低下的；v.降低，贬低

参考例句：

• In my humble opinion,he will win the election.依我拙见，他将在选举中获胜。
• Defeat and failure make people humble.挫折与失败会使人谦卑。

64 riddle   

n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜

参考例句：

• The riddle couldn't be solved by the child.这个谜语孩子猜不出来。
• Her disappearance is a complete riddle.她的失踪完全是一个谜。

65 glorifies   

赞美( glorify的第三人称单数 )； 颂扬； 美化； 使光荣

参考例句：

• He denies that the movie glorifies violence. 他否认这部影片美化暴力。
• This magazine in no way glorifies gangs. 这本杂志绝对没有美化混混们。

66 oracles   

神示所( oracle的名词复数 )； 神谕； 圣贤； 哲人

参考例句：

• Do all oracles tell the truth? 是否所有的神谕都揭示真理？ 来自哲学部分
• The ancient oracles were often vague and equivocal. 古代的神谕常是意义模糊和模棱两可的。

67 sage   

n.圣人，哲人；adj.贤明的，明智的

参考例句：

• I was grateful for the old man's sage advice.我很感激那位老人贤明的忠告。
• The sage is the instructor of a hundred ages.这位哲人是百代之师。

68 glorifying   

赞美( glorify的现在分词 )； 颂扬； 美化； 使光荣

参考例句：

• I had no intention of either glorifying or belittling Christianity, merely the desire to understand it. 我并没有赞扬基督教或蔑视它的立意，我所想的只是了解它。
• You are glorifying a rather mediocre building. 你正在美化一栋普普通通的建筑。

69 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。

70 ecstasy   

n.狂喜，心醉神怡，入迷

参考例句：

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

71 meditation   

n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录

参考例句：

• This peaceful garden lends itself to meditation.这个恬静的花园适于冥想。
• I'm sorry to interrupt your meditation.很抱歉，我打断了你的沉思。

72 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。

73 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。

74 intelligible   

adj.可理解的，明白易懂的，清楚的

参考例句：

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

75 flexibility   

n.柔韧性，弹性，（光的）折射性，灵活性

参考例句：

• Her great strength lies in her flexibility.她的优势在于她灵活变通。
• The flexibility of a man's muscles will lessen as he becomes old.人老了肌肉的柔韧性将降低。

76 dynamics   

n.力学，动力学，动力，原动力；动态

参考例句：

• In order to succeed,you must master complicated knowledge of dynamics.要取得胜利，你必须掌握很复杂的动力学知识。
• Dynamics is a discipline that cannot be mastered without extensive practice.动力学是一门不做大量习题就不能掌握的学科。

77 lyrics   

n.歌词

参考例句：

• music and lyrics by Rodgers and Hart 由罗杰斯和哈特作词作曲
• The book contains lyrics and guitar tablatures for over 100 songs. 这本书有100多首歌的歌词和吉他奏法谱。

78 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。

79 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。