Our very speech is curiously2 historical. Most men, you may observe, speak only to narrate3; not in imparting what they have thought, which indeed were often a very small matter, but in exhibiting what they have undergone or seen, which is a quite unlimited4 one, do talkers dilate5. Cut us off from Narrative6, how would the stream of conversation, even among the wisest, languish7 into detached handfuls, and among the foolish utterly8 evaporate! Thus, as we do nothing but enact9 History, we say little but recite it.—Thomas Carlyle, On History.
Only a small segment of the great field of narration offers its resources to the public speaker, and that includes the anecdote10, biographical facts, and the narration of events in general.
Narration—more easily defined than mastered—is the recital11 of an incident, or a group of facts and occurrences, in such a manner as to produce a desired effect.
The laws of narration are few, but its successful practise involves more of art than would at first appear—so much, indeed, that we cannot even touch upon its technique here, but must content ourselves with an examination of a few examples of narration as used in public speech.
In a preliminary way, notice how radically12 the public speaker's use of narrative differs from that of the story-writer in the more limited scope, absence of extended dialogue and character drawing, and freedom from elaboration of detail, which characterize platform narrative. On the other hand, there are several similarities of method: the frequent combination of narration with exposition, description, argumentation, and pleading; the care exercised in the arrangement of material so as to produce a strong effect at the close (climax); the very general practise of concealing15 the "point" (dénouement) of a story until the effective moment; and the careful suppression of needless, and therefore hurtful, details.
So we see that, whether for magazine or platform, the art of narration involves far more than the recital of annals; the succession of events recorded requires a plan in order to bring them out with real effect.
It will be noticed, too, that the literary style in platform narration is likely to be either less polished and more vigorously dramatic than in that intended for publication, or else more fervid16 and elevated in tone. In this latter respect, however, the best platform speaking of today differs from the models of the preceding generation, wherein a highly dignified17, and sometimes pompous18, style was thought the only fitting dress for a public deliverance. Great, noble and stirring as these older masters were in their lofty and impassioned eloquence19, we are sometimes oppressed when we read their sounding periods for any great length of time—even allowing for all that we lose by missing the speaker's presence, voice, and fire. So let us model our platform narration, as our other forms of speech, upon the effective addresses of the moderns, without lessening20 our admiration21 for the older school.
The Anecdote
An anecdote is a short narrative of a single event, told as being striking enough to bring out a point. The keener the point, the more condensed the form, and the more suddenly the application strikes the hearer, the better the story.
To regard an anecdote as an illustration—an interpretive picture—will help to hold us to its true purpose, for a purposeless story is of all offenses22 on the platform the most asinine23. A perfectly24 capital joke will fall flat when it is dragged in by the nape without evident bearing on the subject under discussion. On the other hand, an apposite anecdote has saved many a speech from failure.
"There is no finer opportunity for the display of tact25 than in the introduction of witty26 or humorous stories into a discourse27. Wit is keen and like a rapier, piercing deeply, sometimes even to the heart. Humor is good-natured, and does not wound. Wit is founded upon the sudden discovery of an unsuspected relation existing between two ideas. Humor deals with things out of relation—with the incongruous. It was wit in Douglass Jerrold to retort upon the scowl29 of a stranger whose shoulder he had familiarly slapped, mistaking him for a friend: 'I beg your pardon, I thought I knew you—but I'm glad I don't.' It was humor in the Southern orator30, John Wise, to liken the pleasure of spending an evening with a Puritan girl to that of sitting on a block of ice in winter, cracking hailstones between his teeth."[24]
The foregoing quotation31 has been introduced chiefly to illustrate32 the first and simplest form of anecdote—the single sentence embodying33 a pungent34 saying.
Another simple form is that which conveys its meaning without need of "application," as the old preachers used to say. George Ade has quoted this one as the best joke he ever heard:
Two solemn-looking gentlemen were riding together in a railway carriage. One gentleman said to the other: "Is your wife entertaining this summer?" Whereupon the other gentleman replied: "Not very."
Other anecdotes35 need harnessing to the particular truth the speaker wishes to carry along in his talk. Sometimes the application is made before the story is told and the audience is prepared to make the comparison, point by point, as the illustration is told. Henry W. Grady used this method in one of the anecdotes he told while delivering his great extemporaneous36 address, "The New South."
Age does not endow all things with strength and virtue37, nor are all new things to be despised. The shoemaker who put over his door, "John Smith's shop, founded 1760," was more than matched by his young rival across the street who hung out this sign: "Bill Jones. Established 1886. No old stock kept in this shop."
In two anecdotes, told also in "The New South," Mr. Grady illustrated38 another way of enforcing the application: in both instances he split the idea he wished to drive home, bringing in part before and part after the recital of the story. The fact that the speaker misquoted the words of Genesis in which the Ark is described did not seem to detract from the burlesque39 humor of the story.
I bespeak40 the utmost stretch of your courtesy tonight. I am not troubled about those from whom I come. You remember the man whose wife sent him to a neighbor with a pitcher41 of milk, who, tripping on the top step, fell, with such casual interruptions as the landings afforded, into the basement, and, while picking himself up, had the pleasure of hearing his wife call out:
"John, did you break the pitcher?
"No, I didn't," said John, "but I be dinged if I don't."
So, while those who call to me from behind may inspire me with energy, if not with courage, I ask an indulgent hearing from you. I beg that you will bring your full faith in American fairness and frankness to judgment42 upon what I shall say. There was an old preacher once who told some boys of the Bible lesson he was going to read in the morning. The boys, finding the place, glued together the connecting pages. The next morning he read on the bottom of one page: "When Noah was one hundred and twenty years old he took unto himself a wife, who was"—then turning the page—"one hundred and forty cubits long, forty cubits wide, built of gopher wood, and covered with pitch inside and out." He was naturally puzzled at this. He read it again, verified it, and then said, "My friends, this is the first time I ever met this in the Bible, but I accept it as an evidence of the assertion that we are fearfully and wonderfully made." If I could get you to hold such faith to-night, I could proceed cheerfully to the task I otherwise approach with a sense of consecration43.
Now and then a speaker will plunge44 without introduction into an anecdote, leaving the application to follow. The following illustrates45 this method:
A large, slew-footed darky was leaning against the corner of the railroad station in a Texas town when the noon whistle in the canning factory blew and the hands hurried out, bearing their grub buckets. The darky listened, with his head on one side until the rocketing echo had quite died away. Then he heaved a deep sigh and remarked to himself:
"Dar she go. Dinner time for some folks—but jes' 12 o'clock fur me!"
That is the situation in thousands of American factories, large and small, today. And why? etc., etc.
Doubtless the most frequent platform use of the anecdote is in the pulpit. The sermon "illustration," however, is not always strictly46 narrative in form, but tends to extended comparison, as the following from Dr. Alexander Maclaren:
Men will stand as Indian fakirs do, with their arms above their heads until they stiffen47 there. They will perch48 themselves upon pillars like Simeon Stylites, for years, till the birds build their nests in their hair. They will measure all the distance from Cape49 Comorin to Juggernaut's temple with their bodies along the dusty road. They will wear hair shirts and scourge50 themselves. They will fast and deny themselves. They will build cathedrals and endow churches. They will do as many of you do, labor13 by fits and starts all thru your lives at the endless task of making yourselves ready for heaven, and winning it by obedience51 and by righteousness. They will do all these things and do them gladly, rather than listen to the humbling52 message that says, "You do not need to do anything—wash." Is it your washing, or the water, that will clean you? Wash and be clean! Naaman's cleaning was only a test of his obedience, and a token that it was God who cleansed53 him. There was no power in Jordan's waters to take away the taint54 of leprosy. Our cleansing55 is in that blood of Jesus Christ that has the power to take away all sin, and to make the foulest56 amongst us pure and clean.
One final word must be said about the introduction to the anecdote. A clumsy, inappropriate introduction is fatal, whereas a single apt or witty sentence will kindle57 interest and prepare a favorable hearing. The following extreme illustration, by the English humorist, Captain Harry58 Graham, well satirizes59 the stumbling manner:
The best story that I ever heard was one that I was told once in the fall of 1905 (or it may have been 1906), when I was visiting Boston—at least, I think it was Boston; it may have been Washington (my memory is so bad).
I happened to run across a most amusing man whose name I forget—Williams or Wilson or Wilkins; some name like that—and he told me this story while we were waiting for a trolley60 car.
I can still remember how heartily61 I laughed at the time; and again, that evening, after I had gone to bed, how I laughed myself to sleep recalling the humor of this incredibly humorous story. It was really quite extraordinarily62 funny. In fact, I can truthfully affirm that it is quite the most amusing story I have ever had the privilege of hearing. Unfortunately, I've forgotten it.
Biographical Facts
Public speaking has much to do with personalities63; naturally, therefore, the narration of a series of biographical details, including anecdotes among the recital of interesting facts, plays a large part in the eulogy64, the memorial address, the political speech, the sermon, the lecture, and other platform deliverances. Whole addresses may be made up of such biographical details, such as a sermon on "Moses," or a lecture on "Lee."
The following example is in itself an expanded anecdote, forming a link in a chain:
MARIUS IN PRISON
The peculiar65 sublimity66 of the Roman mind does not express itself, nor is it at all to be sought, in their poetry. Poetry, according to the Roman ideal of it, was not an adequate organ for the grander movements of the national mind. Roman sublimity must be looked for in Roman acts, and in Roman sayings. Where, again, will you find a more adequate expression of the Roman majesty67, than in the saying of Trajan—Imperatorem oportere stantem mori—that C?sar ought to die standing68; a speech of imperatorial grandeur69! Implying that he, who was "the foremost man of all this world,"—and, in regard to all other nations, the representative of his own,—should express its characteristic virtue in his farewell act—should die in procinctu—and should meet the last enemy as the first, with a Roman countenance70 and in a soldier's attitude. If this had an imperatorial—what follows had a consular71 majesty, and is almost the grandest story upon record.
Marius, the man who rose to be seven times consul72, was in a dungeon73, and a slave was sent in with commission to put him to death. These were the persons,—the two extremities74 of exalted75 and forlorn humanity, its vanward and its rearward man, a Roman consul and an abject76 slave. But their natural relations to each other were, by the caprice of fortune, monstrously78 inverted79: the consul was in chains; the slave was for a moment the arbiter80 of his fate. By what spells, what magic, did Marius reinstate himself in his natural prerogatives81? By what marvels82 drawn83 from heaven or from earth, did he, in the twinkling of an eye, again invest himself with the purple, and place between himself and his assassin a host of shadowy lictors? By the mere84 blank supremacy85 of great minds over weak ones. He fascinated the slave, as a rattlesnake does a bird. Standing "like Teneriffe," he smote86 him with his eye, and said, "Tune77, homo, audes occidere C. Marium?"—"Dost thou, fellow, presume to kill Caius Marius?" Whereat, the reptile87, quaking under the voice, nor daring to affront88 the consular eye, sank gently to the ground—turned round upon his hands and feet—and, crawling out of the prison like any other vermin, left Marius standing in solitude89 as steadfast90 and immovable as the capitol.
—Thomas De Quincy.
Here is a similar example, prefaced by a general historical statement and concluding with autobiographical details:
A REMINISCENCE OF LEXINGTON
One raw morning in spring—it will be eighty years the 19th day of this month—Hancock and Adams, the Moses and Aaron of that Great Deliverance, were both at Lexington; they also had "obstructed91 an officer" with brave words. British soldiers, a thousand strong, came to seize them and carry them over sea for trial, and so nip the bud of Freedom auspiciously92 opening in that early spring. The town militia93 came together before daylight, "for training." A great, tall man, with a large head and a high, wide brow, their captain,—one who had "seen service,"—marshalled them into line, numbering but seventy, and bade "every man load his piece with powder and ball. I will order the first man shot that runs away," said he, when some faltered94. "Don't fire unless fired upon, but if they want to have a war, let it begin here."
Gentlemen, you know what followed; those farmers and mechanics "fired the shot heard round the world." A little monument covers the bones of such as before had pledged their fortune and their sacred honor to the Freedom of America, and that day gave it also their lives. I was born in that little town, and bred up amid the memories of that day. When a boy, my mother lifted me up, one Sunday, in her religious, patriotic95 arms, and held me while I read the first monumental line I ever saw—"Sacred to Liberty and the Rights of Mankind."
Since then I have studied the memorial marbles of Greece and Rome, in many an ancient town; nay96, on Egyptian obelisks97 have read what was written before the Eternal raised up Moses to lead Israel out of Egypt; but no chiseled98 stone has ever stirred me to such emotion as these rustic99 names of men who fell "In the Sacred Cause of God and their Country."
Gentlemen, the Spirit of Liberty, the Love of Justice, were early fanned into a flame in my boyish heart. That monument covers the bones of my own kinsfolk; it was their blood which reddened the long, green grass at Lexington. It was my own name which stands chiseled on that stone; the tall captain who marshalled his fellow farmers and mechanics into stern array, and spoke100 such brave and dangerous words as opened the war of American Independence,—the last to leave the field,—was my father's father. I learned to read out of his Bible, and with a musket101 he that day captured from the foe102, I learned another religious lesson, that "Rebellion to Tyrants103 is Obedience to God." I keep them both "Sacred to Liberty and the Rights of Mankind," to use them both "In the Sacred Cause of God and my Country."—Theodore Parker.
Narration of Events in General
In this wider, emancipated104 narration we find much mingling105 of other forms of discourse, greatly to the advantage of the speech, for this truth cannot be too strongly emphasized: The efficient speaker cuts loose from form for the sake of a big, free effect. The present analyses are for no other purpose than to acquaint you with form—do not allow any such models to hang as a weight about your neck.
The following pure narration of events, from George William Curtis's "Paul Revere106's Ride," varies the biographical recital in other parts of his famous oration14:
That evening, at ten o'clock, eight hundred British troops, under Lieutenant-Colonel Smith, took boat at the foot of the Common and crossed to the Cambridge shore. Gage107 thought his secret had been kept, but Lord Percy, who had heard the people say on the Common that the troops would miss their aim, undeceived him. Gage instantly ordered that no one should leave the town. But as the troops crossed the river, Ebenezer Dorr, with a message to Hancock and Adams, was riding over the Neck to Roxbury, and Paul Revere was rowing over the river to Charlestown, having agreed with his friend, Robert Newman, to show lanterns from the belfry of the Old North Church—"One if by land, and two if by sea"—as a signal of the march of the British.
It was a brilliant night. The winter had been unusually mild, and the spring very forward. The hills were already green. The early grain waved in the fields, and the air was sweet with the blossoming orchards109. Already the robins110 whistled, the bluebirds sang, and the benediction111 of peace rested upon the landscape. Under the cloudless moon the soldiers silently marched, and Paul Revere swiftly rode, galloping112 through Medford and West Cambridge, rousing every house as he went spurring for Lexington and Hancock and Adams, and evading113 the British patrols who had been sent out to stop the news.
In the succeeding extract from another of Mr. Curtis's addresses, we have a free use of allegory as illustration:
THE LEADERSHIP OF EDUCATED MEN
There is a modern English picture which the genius of Hawthorne might have inspired. The painter calls it, "How they met themselves." A man and a woman, haggard and weary, wandering lost in a somber114 wood, suddenly meet the shadowy figures of a youth and a maid. Some mysterious fascination115 fixes the gaze and stills the hearts of the wanderers, and their amazement116 deepens into awe117 as they gradually recognize themselves as once they were; the soft bloom of youth upon their rounded cheeks, the dewy light of hope in their trusting eyes, exulting118 confidence in their springing step, themselves blithe119 and radiant with the glory of the dawn. Today, and here, we meet ourselves. Not to these familiar scenes alone—yonder college-green with its reverend traditions; the halcyon120 cove28 of the Seekonk, upon which the memory of Roger Williams broods like a bird of calm; the historic bay, beating forever with the muffled121 oars122 of Barton and of Abraham Whipple; here, the humming city of the living; there, the peaceful city of the dead;—not to these only or chiefly do we return, but to ourselves as we once were. It is not the smiling freshmen123 of the year, it is your own beardless and unwrinkled faces, that are looking from the windows of University Hall and of Hope College. Under the trees upon the hill it is yourselves whom you see walking, full of hopes and dreams, glowing with conscious power, and "nourishing a youth sublime124;" and in this familiar temple, which surely has never echoed with eloquence so fervid and inspiring as that of your commencement orations125, it is not yonder youths in the galleries who, as they fondly believe, are whispering to yonder maids; it is your younger selves who, in the days that are no more, are murmuring to the fairest mothers and grandmothers of those maids.
Happy the worn and weary man and woman in the picture could they have felt their older eyes still glistening126 with that earlier light, and their hearts yet beating with undiminished sympathy and aspiration127. Happy we, brethren, whatever may have been achieved, whatever left undone128, if, returning to the home of our earlier years, we bring with us the illimitable hope, the unchilled resolution, the inextinguishable faith of youth.
—George William Curtis.
QUESTIONS AND EXERCISES
1. Clip from any source ten anecdotes and state what truths they may be used to illustrate.
2. Deliver five of these in your own language, without making any application.
3. From the ten, deliver one so as to make the application before telling the anecdote.
4. Deliver another so as to split the application.
5. Deliver another so as to make the application after the narration.
6. Deliver another in such a way as to make a specific application needless.
7. Give three ways of introducing an anecdote, by saying where you heard it, etc.
8. Deliver an illustration that is not strictly an anecdote, in the style of Curtis's speech on page 259.
9. Deliver an address on any public character, using the forms illustrated in this chapter.
10. Deliver an address on some historical event in the same manner.
11. Explain how the sympathies and viewpoint of the speaker will color an anecdote, a biography, or a historical account.
12. Illustrate how the same anecdote, or a section of a historical address, may be given two different effects by personal prejudice.
13. What would be the effect of shifting the viewpoint in the midst of a narration?
点击
收听单词发音
收听单词发音 |
1
narration
|
|
| n.讲述，叙述；故事；记叙体 | |
参考例句： |
|
|
|
|
2
curiously
|
|
| adv.有求知欲地；好问地；奇特地 | |
参考例句： |
|
|
|
|
3
narrate
|
|
| v.讲，叙述 | |
参考例句： |
|
|
|
|
4
unlimited
|
|
| adj.无限的，不受控制的，无条件的 | |
参考例句： |
|
|
|
|
5
dilate
|
|
| vt.使膨胀，使扩大 | |
参考例句： |
|
|
|
|
6
narrative
|
|
| n.叙述，故事；adj.叙事的，故事体的 | |
参考例句： |
|
|
|
|
7
languish
|
|
| vi.变得衰弱无力，失去活力，（植物等）凋萎 | |
参考例句： |
|
|
|
|
8
utterly
|
|
| adv.完全地，绝对地 | |
参考例句： |
|
|
|
|
9
enact
|
|
| vt.制定(法律)；上演，扮演 | |
参考例句： |
|
|
|
|
10
anecdote
|
|
| n.轶事，趣闻，短故事 | |
参考例句： |
|
|
|
|
11
recital
|
|
| n.朗诵，独奏会，独唱会 | |
参考例句： |
|
|
|
|
12
radically
|
|
| ad.根本地，本质地 | |
参考例句： |
|
|
|
|
13
labor
|
|
| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
参考例句： |
|
|
|
|
14
oration
|
|
| n.演说，致辞，叙述法 | |
参考例句： |
|
|
|
|
15
concealing
|
|
| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
参考例句： |
|
|
|
|
16
fervid
|
|
| adj.热情的；炽热的 | |
参考例句： |
|
|
|
|
17
dignified
|
|
| a.可敬的，高贵的 | |
参考例句： |
|
|
|
|
18
pompous
|
|
| adj.傲慢的，自大的；夸大的；豪华的 | |
参考例句： |
|
|
|
|
19
eloquence
|
|
| n.雄辩；口才，修辞 | |
参考例句： |
|
|
|
|
20
lessening
|
|
| 减轻，减少，变小 | |
参考例句： |
|
|
|
|
21
admiration
|
|
| n.钦佩，赞美，羡慕 | |
参考例句： |
|
|
|
|
22
offenses
|
|
| n.进攻( offense的名词复数 )；（球队的）前锋；进攻方法；攻势 | |
参考例句： |
|
|
|
|
23
asinine
|
|
| adj.愚蠢的 | |
参考例句： |
|
|
|
|
24
perfectly
|
|
| adv.完美地，无可非议地，彻底地 | |
参考例句： |
|
|
|
|
25
tact
|
|
| n.机敏，圆滑，得体 | |
参考例句： |
|
|
|
|
26
witty
|
|
| adj.机智的，风趣的 | |
参考例句： |
|
|
|
|
27
discourse
|
|
| n.论文，演说；谈话；话语；vi.讲述，著述 | |
参考例句： |
|
|
|
|
28
cove
|
|
| n.小海湾，小峡谷 | |
参考例句： |
|
|
|
|
29
scowl
|
|
| vi.(at)生气地皱眉，沉下脸，怒视；n.怒容 | |
参考例句： |
|
|
|
|
30
orator
|
|
| n.演说者，演讲者，雄辩家 | |
参考例句： |
|
|
|
|
31
quotation
|
|
| n.引文，引语，语录；报价，牌价，行情 | |
参考例句： |
|
|
|
|
32
illustrate
|
|
| v.举例说明，阐明；图解，加插图 | |
参考例句： |
|
|
|
|
33
embodying
|
|
| v.表现( embody的现在分词 )；象征；包括；包含 | |
参考例句： |
|
|
|
|
34
pungent
|
|
| adj.（气味、味道）刺激性的，辛辣的；尖锐的 | |
参考例句： |
|
|
|
|
35
anecdotes
|
|
| n.掌故，趣闻，轶事( anecdote的名词复数 ) | |
参考例句： |
|
|
|
|
36
extemporaneous
|
|
| adj.即席的，一时的 | |
参考例句： |
|
|
|
|
37
virtue
|
|
| n.德行，美德；贞操；优点；功效，效力 | |
参考例句： |
|
|
|
|
38
illustrated
|
|
| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
参考例句： |
|
|
|
|
39
burlesque
|
|
| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
参考例句： |
|
|
|
|
40
bespeak
|
|
| v.预定；预先请求 | |
参考例句： |
|
|
|
|
41
pitcher
|
|
| n.(有嘴和柄的)大水罐；(棒球)投手 | |
参考例句： |
|
|
|
|
42
judgment
|
|
| n.审判；判断力，识别力，看法，意见 | |
参考例句： |
|
|
|
|
43
consecration
|
|
| n.供献，奉献，献祭仪式 | |
参考例句： |
|
|
|
|
44
plunge
|
|
| v.跳入，(使)投入，(使)陷入；猛冲 | |
参考例句： |
|
|
|
|
45
illustrates
|
|
| 给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明 | |
参考例句： |
|
|
|
|
46
strictly
|
|
| adv.严厉地，严格地；严密地 | |
参考例句： |
|
|
|
|
47
stiffen
|
|
| v.(使)硬，(使)变挺，(使)变僵硬 | |
参考例句： |
|
|
|
|
48
perch
|
|
| n.栖木，高位，杆；v.栖息，就位，位于 | |
参考例句： |
|
|
|
|
49
cape
|
|
| n.海角，岬；披肩，短披风 | |
参考例句： |
|
|
|
|
50
scourge
|
|
| n.灾难，祸害；v.蹂躏 | |
参考例句： |
|
|
|
|
51
obedience
|
|
| n.服从，顺从 | |
参考例句： |
|
|
|
|
52
humbling
|
|
| adj.令人羞辱的v.使谦恭( humble的现在分词 )；轻松打败（尤指强大的对手）；低声下气 | |
参考例句： |
|
|
|
|
53
cleansed
|
|
| 弄干净，清洗( cleanse的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
54
taint
|
|
| n.污点；感染；腐坏；v.使感染；污染 | |
参考例句： |
|
|
|
|
55
cleansing
|
|
| n. 净化(垃圾) adj. 清洁用的 动词cleanse的现在分词 | |
参考例句： |
|
|
|
|
56
foulest
|
|
| adj.恶劣的( foul的最高级 )；邪恶的；难闻的；下流的 | |
参考例句： |
|
|
|
|
57
kindle
|
|
| v.点燃，着火 | |
参考例句： |
|
|
|
|
58
harry
|
|
| vt.掠夺，蹂躏，使苦恼 | |
参考例句： |
|
|
|
|
59
satirizes
|
|
| v.讽刺，讥讽( satirize的第三人称单数 ) | |
参考例句： |
|
|
|
|
60
trolley
|
|
| n.手推车，台车；无轨电车；有轨电车 | |
参考例句： |
|
|
|
|
61
heartily
|
|
| adv.衷心地，诚恳地，十分，很 | |
参考例句： |
|
|
|
|
62
extraordinarily
|
|
| adv.格外地；极端地 | |
参考例句： |
|
|
|
|
63
personalities
|
|
| n. 诽谤，（对某人容貌、性格等所进行的）人身攻击； 人身攻击；人格, 个性, 名人( personality的名词复数 ) | |
参考例句： |
|
|
|
|
64
eulogy
|
|
| n.颂词；颂扬 | |
参考例句： |
|
|
|
|
65
peculiar
|
|
| adj.古怪的，异常的；特殊的，特有的 | |
参考例句： |
|
|
|
|
66
sublimity
|
|
| 崇高，庄严，气质高尚 | |
参考例句： |
|
|
|
|
67
majesty
|
|
| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
参考例句： |
|
|
|
|
68
standing
|
|
| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
参考例句： |
|
|
|
|
69
grandeur
|
|
| n.伟大，崇高，宏伟，庄严，豪华 | |
参考例句： |
|
|
|
|
70
countenance
|
|
| n.脸色，面容；面部表情；vt.支持，赞同 | |
参考例句： |
|
|
|
|
71
consular
|
|
| a.领事的 | |
参考例句： |
|
|
|
|
72
consul
|
|
| n.领事；执政官 | |
参考例句： |
|
|
|
|
73
dungeon
|
|
| n.地牢，土牢 | |
参考例句： |
|
|
|
|
74
extremities
|
|
| n.端点( extremity的名词复数 )；尽头；手和足；极窘迫的境地 | |
参考例句： |
|
|
|
|
75
exalted
|
|
| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
参考例句： |
|
|
|
|
76
abject
|
|
| adj.极可怜的，卑屈的 | |
参考例句： |
|
|
|
|
77
tune
|
|
| n.调子；和谐，协调；v.调音，调节，调整 | |
参考例句： |
|
|
|
|
78
monstrously
|
|
参考例句： |
|
|
|
|
79
inverted
|
|
| adj.反向的，倒转的v.使倒置，使反转( invert的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
80
arbiter
|
|
| n.仲裁人，公断人 | |
参考例句： |
|
|
|
|
81
prerogatives
|
|
| n.权利( prerogative的名词复数 )；特权；大主教法庭；总督委任组成的法庭 | |
参考例句： |
|
|
|
|
82
marvels
|
|
| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
参考例句： |
|
|
|
|
83
drawn
|
|
| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
参考例句： |
|
|
|
|
84
mere
|
|
| adj.纯粹的；仅仅，只不过 | |
参考例句： |
|
|
|
|
85
supremacy
|
|
| n.至上；至高权力 | |
参考例句： |
|
|
|
|
86
smote
|
|
| v.猛打，重击，打击( smite的过去式 ) | |
参考例句： |
|
|
|
|
87
reptile
|
|
| n.爬行动物；两栖动物 | |
参考例句： |
|
|
|
|
88
affront
|
|
| n./v.侮辱，触怒 | |
参考例句： |
|
|
|
|
89
solitude
|
|
| n. 孤独; 独居,荒僻之地,幽静的地方 | |
参考例句： |
|
|
|
|
90
steadfast
|
|
| adj.固定的，不变的，不动摇的；忠实的；坚贞不移的 | |
参考例句： |
|
|
|
|
91
obstructed
|
|
| 阻塞( obstruct的过去式和过去分词 )； 堵塞； 阻碍； 阻止 | |
参考例句： |
|
|
|
|
92
auspiciously
|
|
| adv.吉利； 繁荣昌盛； 前途顺利； 吉祥 | |
参考例句： |
|
|
|
|
93
militia
|
|
| n.民兵，民兵组织 | |
参考例句： |
|
|
|
|
94
faltered
|
|
| （嗓音）颤抖( falter的过去式和过去分词 )； 支吾其词； 蹒跚； 摇晃 | |
参考例句： |
|
|
|
|
95
patriotic
|
|
| adj.爱国的，有爱国心的 | |
参考例句： |
|
|
|
|
96
nay
|
|
| adv.不；n.反对票，投反对票者 | |
参考例句： |
|
|
|
|
97
obelisks
|
|
| n.方尖石塔，短剑号，疑问记号( obelisk的名词复数 ) | |
参考例句： |
|
|
|
|
98
chiseled
|
|
| adj.凿刻的，轮廓分明的v.凿，雕，镌( chisel的过去式 ) | |
参考例句： |
|
|
|
|
99
rustic
|
|
| adj.乡村的，有乡村特色的；n.乡下人，乡巴佬 | |
参考例句： |
|
|
|
|
100
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： |
|
|
|
|
101
musket
|
|
| n.滑膛枪 | |
参考例句： |
|
|
|
|
102
foe
|
|
| n.敌人，仇敌 | |
参考例句： |
|
|
|
|
103
tyrants
|
|
| 专制统治者( tyrant的名词复数 )； 暴君似的人； （古希腊的）僭主； 严酷的事物 | |
参考例句： |
|
|
|
|
104
emancipated
|
|
| adj.被解放的，不受约束的v.解放某人（尤指摆脱政治、法律或社会的束缚）( emancipate的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
105
mingling
|
|
| adj.混合的 | |
参考例句： |
|
|
|
|
106
revere
|
|
| vt.尊崇，崇敬，敬畏 | |
参考例句： |
|
|
|
|
107
gage
|
|
| n.标准尺寸，规格；量规，量表 [=gauge] | |
参考例句： |
|
|
|
|
108
mingles
|
|
| 混合，混入( mingle的第三人称单数 )； 混进，与…交往[联系] | |
参考例句： |
|
|
|
|
109
orchards
|
|
| （通常指围起来的）果园( orchard的名词复数 ) | |
参考例句： |
|
|
|
|
110
robins
|
|
| n.知更鸟，鸫( robin的名词复数 )；（签名者不分先后，以避免受责的）圆形签名抗议书（或请愿书） | |
参考例句： |
|
|
|
|
111
benediction
|
|
| n.祝福；恩赐 | |
参考例句： |
|
|
|
|
112
galloping
|
|
| adj. 飞驰的, 急性的 动词gallop的现在分词形式 | |
参考例句： |
|
|
|
|
113
evading
|
|
| 逃避( evade的现在分词 )； 避开； 回避； 想不出 | |
参考例句： |
|
|
|
|
114
somber
|
|
| adj.昏暗的，阴天的，阴森的，忧郁的 | |
参考例句： |
|
|
|
|
115
fascination
|
|
| n.令人着迷的事物，魅力，迷恋 | |
参考例句： |
|
|
|
|
116
amazement
|
|
| n.惊奇，惊讶 | |
参考例句： |
|
|
|
|
117
awe
|
|
| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
参考例句： |
|
|
|
|
118
exulting
|
|
| vi. 欢欣鼓舞，狂喜 | |
参考例句： |
|
|
|
|
119
blithe
|
|
| adj.快乐的，无忧无虑的 | |
参考例句： |
|
|
|
|
120
halcyon
|
|
| n.平静的，愉快的 | |
参考例句： |
|
|
|
|
121
muffled
|
|
| adj.（声音）被隔的；听不太清的；（衣服）裹严的；蒙住的v.压抑，捂住( muffle的过去式和过去分词 )；用厚厚的衣帽包着（自己） | |
参考例句： |
|
|
|
|
122
oars
|
|
| n.桨，橹( oar的名词复数 )；划手v.划（行）( oar的第三人称单数 ) | |
参考例句： |
|
|
|
|
123
freshmen
|
|
| n.（中学或大学的）一年级学生( freshman的名词复数 ) | |
参考例句： |
|
|
|
|
124
sublime
|
|
| adj.崇高的，伟大的；极度的，不顾后果的 | |
参考例句： |
|
|
|
|
125
orations
|
|
| n.（正式仪式中的）演说，演讲( oration的名词复数 ) | |
参考例句： |
|
|
|
|
126
glistening
|
|
| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
参考例句： |
|
|
|
|
127
aspiration
|
|
| n.志向，志趣抱负；渴望；(语)送气音；吸出 | |
参考例句： |
|
|
|
|
128
undone
|
|
| a.未做完的，未完成的 | |
参考例句： |
|
|
|
|
129
pathos
|
|
| n.哀婉，悲怆 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |