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Conclusion
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The conclusion at which we arrive is that the Iliad, as a whole, is the work of one age. That it has reached us without interpolations and lacunae and remaniements perhaps no person of ordinary sense will allege1. But that the mass of the Epic2 is of one age appears to be a natural inference from the breakdown3 of the hypotheses which attempt to explain it as a late mosaic4. We have also endeavoured to prove, quite apart from the failure of theories of expansion and compilation5, that the Iliad presents an historical unity6, unity of character, unity of customary law, and unity in its archaeology7. If we are right, we must have an opinion as to how the Epic was preserved.

If we had evidence for an Homeric school, we might imagine that the Epic was composed by dint8 of memory, and preserved, like the Sanskrit Hymns9 of the Rig Veda, and the Hymns of the Maoris, the Zu?is, and other peoples in the lower or middle stage of barbarism, by the exertions10 and teaching of schools. But religious hymns and mythical11 hymns — the care of a priesthood — are one thing; a great secular12 epic is another. Priests will not devote themselves from age to age to its conservation. It cannot be conserved13, with its unity of tone and character, and, on the whole, even of language, by generations of paid strollers, who recite new lays of their own, as well as any old lays that they may remember, which they alter at pleasure.

We are thus driven back to the theory of early written texts, not intended to meet the wants of a reading public, but for the use of the poet himself and of those to whom he may bequeath his work. That this has been a method in which orally published epics14 were composed and preserved in a non-reading age we have proved in our chapter on the French Chansons de Geste. Unhappily, the argument that what was done in mediaeval France might be done in sub-Mycenaean Greece, is based on probabilities, and these are differently estimated by critics of different schools. All seems to depend on each individual’s sense of what is “likely.” In that case science has nothing to make in the matter. Nitzsche thought that writing might go back to the time of Homer. Mr. Monro thought it “probable enough that writing, even if known at the time of Homer, was not used for literary purposes.” 378 Sir Richard Jebb, as we saw, took a much more favourable15 view of the probability of early written texts. M. Salomon Reinach, arguing from the linear written clay tablets of Knossos and from a Knossian cup with writing on it in ink, thinks that there may have existed whole “Minoan” libraries — manuscripts executed on perishable16 materials, palm leaves, papyrus17, or parchment. 379 Mr. Leaf, while admitting that “writing was known in some form through the whole period of epic development,” holds that “it is in the highest degree unlikely that it was ever employed to form a standard text of the Epic or any portion of it. . . . At best there was a continuous tradition of those portions of the poems which were especially popular . . . ” 380 Father Browne dates the employment of writing for the preservation18 of the Epic “from the sixth century onwards.” 381 He also says that “it is difficult to suppose that the Mycenaeans, who were certainly in contact with this form of writing” (the Cretan linear), “should not have used it much more freely than our direct evidence warrants us in asserting.” He then mentions the Knossian cup “with writing inscribed19 on it apparently20 in pen and ink . . . The conclusion is that ordinary writing was in use, but that the materials, probably palm leaves, have disappeared.” 382

Why it should be unlikely that a people confessedly familiar with writing used it for the preservation of literature, when we know that even the Red Indians preserve their songs by means of pictographs, while West African tribes use incised characters, is certainly not obvious. Many sorts of prae-Phoenician writing were current during the Mycenaean age in Asia, Egypt, Assyria, and in Cyprus. As these other peoples used writing of their own sort for literary purposes, it is not easy to see why the Cretans, for example, should not have done the same thing. Indeed, Father Browne supposes that the Mycenaeans used “ordinary writing,” and used it freely. Nevertheless, the Epic was not written, he says, till the sixth century B.C. Cauer, indeed, remarks that “the Finnish epic” existed unwritten till Lbnnrot, its Pisistratus, first collected it from oral recitation. 383 But there is not, and never was, any “Finnish epic.” There were cosmogonic songs, as among the Maoris and Zu?is — songs of the beginnings of things; there were magical songs, songs of weddings, a song based on the same popular tale that underlies21 the legend of the Argonauts. There were songs of the Culture Hero, songs of burial and feast, and of labour. L?nnrot collected these, and tried by interpolations to make an epic out of them; but the point, as Comparetti has proved, is that he failed. There is no Finnish epic, only a mass of Volkslieder. Cauer’s other argument, that the German popular tales, Grimm’s tales, were unwritten till 1812, is as remote from the point at issue. Nothing can be less like an epic than a volume of M?rchen.

As usual we are driven back upon a literary judgment22. Is the Iliad a patchwork23 of metrical M?rchen or is it an epic nobly constructed? If it is the former, writing was not needed; if it is the latter, in the absence of Homeric guilds25 or colleges, only writing can account for its preservation.

It is impossible to argue against a critic’s subjective26 sense of what is likely. Possibly that sense is born of the feeling that the Cretan linear script, for example, or the Cyprian syllabary, looks very odd and outlandish. The critic’s imagination boggles at the idea of an epic written in such scripts. In that case his is not the scientific imagination; he is checked merely by the unfamiliar28. Or his sense of unlikelihood may be a subconscious29 survival of Wolf’s opinion, formed by him at a time when the existence of the many scripts of the old world was unknown.

Our own sense of probability leads us to the conclusion that, in an age when people could write, people wrote down the Epic. If they applied30 their art to literature, then the preservation of the Epic is explained. Written first in a prae-Phoenician script, it continued to be written in the Greek adaptation of the Phoenician alphabet. There was not yet, probably, a reading public, but there were a few clerkly men.

That the Cretans, at least, could write long before the age of Homer, Mr. Arthur Evans has demonstrated by his discoveries. Prom my remote undergraduate days I was of the opinion which he has proved to be correct, starting, like him, from what I knew about savage31 pictographs. 384

M. Reinach and Mr. Evans have pointed32 out that in this matter tradition joins hands with discovery. Diodorus Siculus, speaking of the Cretan Zeus and probably on Cretan authority, says: “As to those who hold that the Syrians invented letters, from whom the Phoenicians received them and handed them on to the Greeks, . . . and that for this reason the Greeks call letters ‘Phoenician,’ some reply that the Phoenicians did not discover letters, but merely modified (transposed?) the forms of the letters, and that most men use this form of script, and thus letters came to be styled ‘Phoenician.’” 385 In fact, the alphabet is a collection of signs of palaeolithic antiquity33 and of vast diffusion34. 386

Thus the use of writing for the conservation of the Epic cannot seem to me to be unlikely, but rather probable; and here one must leave the question, as the subjective element plays so great a part in every man’s sense of what is likely or unlikely. That writing cannot have been used for this literary purpose, that the thing is impossible, nobody will now assert.

My supposition is, then, that the text of the Epic existed in AEgean script till Greece adapted to her own tongue the “Phoenician letters,” which I think she did not later than the ninth to eighth centuries; “at the beginning of the ninth century,” says Professor Bury. 387 This may seem an audaciously early date, but when we find vases of the eighth to seventh centuries bearing inscriptions36, we may infer that a knowledge of reading and writing was reasonably common. When such a humble37 class of hirelings or slaves as the pot-painters can sign their work, expecting their signatures to be read, reading and writing must be very common accomplishments39 among the more fortunate classes.

If Mr. Gardner is right in dating a number of incised inscriptions on early pottery40 at Naucratis before the middle of the seventh century, we reach the same conclusion. In fact, if these inscriptions be of a century earlier than the Abu Simbel inscriptions, of date 590 B.C., we reach 690 B.C. Wherefore, as writing does not become common in a moment, it must have existed in the eighth century B.C. We are not dealing41 here with a special learned class, but with ordinary persons who could write. 388

Interesting for our purpose is the verse incised on a Dipylon vase, found at Athens in 1880. It is of an ordinary cream-jug42 shape, with a neck, a handle, a spout43, and a round belly44. On the neck, within a zigzag45 “geometrical” pattern, is a doe, feeding, and a tall water-fowl. On the shoulder is scratched with a point, in very antique Attic46 characters running from right to left, [Greek: os nun47 orchaeston panton hatalotata pais ei, tou tode]. “This is the jug of him who is the most delicately sportive of all dancers of our time.” The jug is attributed to the eighth century. 389

Taking the vase, with Mr. Walters, as of the eighth century, I do not suppose that the amateur who gave it to a dancer and scratched the hexameter was of a later generation than the jug itself. The vase may have cost him sixpence: he would give his friend a new vase; it is improbable that old jugs48 were sold at curiosity shops in these days, and given by amateurs to artists. The inscription35 proves that, in the eighth to seventh centuries, at a time of very archaic49 characters (the Alpha is lying down on its side, the aspirate is an oblong with closed ends and a stroke across the middle, and the Iota50 is curved at each end), people could write with ease, and would put verse into writing. The general accomplishment38 of reading is taken for granted.

Reading is also taken for granted by the Gortyn (Cretan) inscription of twelve columns long, boustro-phedon (running alternately from left to right, and from right to left). In this inscribed code of laws, incised on stone, money is not mentioned in the more ancient part, but fines and prices are calculated in “chalders” and “bolls” ([Greek: lebaetes] and [Greek: tripodes]), as in Scotland when coin was scarce indeed. Whether the law contemplated51 the value of the vessels52 themselves, or, as in Scotland, of their contents in grain, I know not. The later inscriptions deal with coined money. If coin came in about 650 B.C., the older parts of the inscription may easily be of 700 B.C.

The Gortyn inscription implies the power of writing out a long code of laws, and it implies that persons about to go to law could read the public inscription, as we can read a proclamation posted up on a wall, or could have it read to them. 390

The alphabets inscribed on vases of the seventh century (Abecedaria), with “the archaic Greek forms of every one of the twenty-two Phoenician letters arranged precisely53 in the received Semitic order,” were, one supposes, gifts for boys and girls who were learning to read, just like our English alphabets on gingerbread. 391

Among inscriptions on tombstones of the end of the seventh century, there is the epitaph of a daughter of a potter. 392 These writings testify to the general knowledge of reading, just as much as our epitaphs testify to the same state of education. The Athenian potter’s daughter of the seventh century B.C. had her epitaph, but the grave-stones of highlanders, chiefs or commoners, were usually uninscribed till about the end of the eighteenth century, in deference54 to custom, itself arising from the illiteracy55 of the highlanders in times past. 393 I find no difficulty, therefore, in supposing that there were some Greek readers and writers in the eighth century, and that primary education was common in the seventh. In these circumstances my sense of the probable is not revolted by the idea of a written epic, in Greek characters, even in the eighth century, but the notion that there was no such thing till the middle of the sixth century seems highly improbable. All the conditions were present which make for the composition and preservation of literary works in written texts. That there were many early written copies of Homer in the eighth century I am not inclined to believe. The Greeks were early a people who could read, but were not a reading people. Setting newspapers aside, there is no such thing as a reading people.

The Greeks preferred to listen to recitations, but my hypothesis is that the rhapsodists who recited had texts, like the jongleurs’ books of their epics in France, and that they occasionally, for definite purposes, interpolated matter into their texts. There were also texts, known in later times as “city texts” ([Greek: ai kata poleis]), which Aristarchus knew, but he did not adopt the various readings. 394

Athens had a text in Solon’s time, if he entered the decree that the whole Epic should be recited in due order, every five years, at the Panathenaic festival. 395 “This implies the possession of a complete text.” 396

Cauer remarks that the possibility of “interpolation” “began only after the fixing of the text by Pisistratus.” 397 But surely if every poet and reciter could thrust any new lines which he chose to make into any old lays which he happened to know, that was interpolation, whether he had a book of the words or had none. Such interpolations would fill the orally recited lays which the supposed Pisistratean editor must have written down from recitation before he began his colossal56 task of making the Iliad out of them. If, on the other hand, reciters had books of the words, they could interpolate at pleasure into them, and such books may have been among the materials used in the construction of a text for the Athenian book market. But if our theory be right, there must always have been a few copies of better texts than those of the late reciters’ books, and the effort of the editors for the book market would be to keep the parts in which most manuscripts were agreed.

But how did Athens, or any other city, come to possess a text? One can only conjecture57; but my conjecture is that there had always been texts — copied out in successive generations — in the hands of the curious; for example, in the hands of the Cyclic poets, who knew our Iliad as the late French Cyclic poets knew the earlier Chansons de Geste. They certainly knew it, for they avoided interference with it; they worked at epics which led up to it, as in the Cypria; they borrowed motifs58 from hints and references in the Iliad, 398 and they carried on the story from the death of Hector, in the AEthiopis of Arctinus of Miletus. This epic ended with the death of Achilles, when The Little Iliad produced the tale to the bringing in of the wooden horse. Arctinus goes on with his Sack of Ilios, others wrote of The Return of the Heroes, and the Telegonia is a sequel to the Odyssey59. The authors of these poems knew the Iliad, then, as a whole, and how could they have known it thus if it only existed in the casual repertoire60 of strolling reciters? The Cyclic poets more probably had texts of Homer, and themselves wrote their own poems — how it paid, whether they recited them and collected rewards or not, is, of course, unknown.

The Cyclic poems, to quote Sir Richard Jebb, “help to fix the lowest limit for the age of the Homeric poems. 399 The earliest Cyclic poems, dating from about 776 B.C., presuppose the Iliad, being planned to introduce or continue it. . . . It would appear, then, that the Iliad must have existed in something like its present compass as early as 800 B.C.; indeed a considerably61 earlier date will seem probable, if due time is allowed for the poem to have grown into such fame as would incite62 the effort to continue it and to prelude63 to it”

Sir Richard then takes the point on which we have already insisted, namely, that the Cyclic poets of the eighth century B.C. live in an age of ideas, religions, ritual, and so forth64 which are absent from the Iliad 400

Thus the Iliad existed with its characteristics that are prior to 800 B.C., and in its present compass, and was renowned65 before 800 B.C. As it could not possibly have thus existed in the repertoire of irresponsible strolling minstrels and reciters, and as there is no evidence for a college, school, or guild24 which preserved the Epic by a system of mnemonic teaching, while no one can deny at least the possibility of written texts, we are driven to the hypothesis that written texts there were, whence descended66, for example, the text of Athens.

We can scarcely suppose, however, that such texts were perfect in all respects, for we know how, several centuries later, in a reading age, papyrus fragments of the Iliad display unwarrantable interpolation. 401 But Plato’s frequent quotations67, of course made at an earlier date, show that “whatever interpolated texts of Homer were then current, the copy from which Plato quoted was not one of them.” 402 Plato had something much better.

When a reading public for Homer arose — and, from the evidences of the widespread early knowledge of reading, such a small public may have come into existence sooner than is commonly supposed — Athens was the centre of the book trade. To Athens must be due the prae-Alexandrian Vulgate, or prevalent text, practically the same as our own. Some person or persons must have made that text — not by taking down from recitation all the lays which they could collect, as Herd68, Scott, Mrs. Brown, and others collected much of the Border Minstrelsy, and not by then tacking69 the lays into a newly-composed whole. They must have done their best with such texts as were accessible to them, and among these were probably the copies used by reciters and rhapsodists, answering to the MS. books of the mediaeval jongleurs.

Mr. Jevons has justly and acutely remarked that “we do not know, and there is no external evidence of any description which leads us to suppose, that the Iliad was ever expanded” (J. H. S, vii. 291–308).

That it was expanded is a mere27 hypothesis based on the idea that “if there was an Iliad at all in the ninth century, its length must have been such as was compatible with the conditions of an oral delivery,”—“a poem or poems short enough to be recited at a single sitting.”

But we have proved, with Mr. Jevons and Blass, and by the analogy of the Chansons that, given a court audience (and a court audience is granted), there were no such narrow limits imposed on the length of a poem orally recited from night to night.

The length of the Iliad yields, therefore, no argument for expansions throughout several centuries. That theory, suggested by the notion that the original poem must have been short, is next supposed to be warranted by the inconsistencies and discrepancies70. But we argue that these are only visible, as a rule, to “the analytical71 reader,” for whom the poet certainly was not composing; that they occur in all long works of fictitious72 narrative73; that the discrepancies often are not discrepancies; and, finally, that they are not nearly so glaring as the inconsistencies in the theories of each separatist critic. A theory, in such matter as this, is itself an explanatory myth, or the plot of a story which the critic invents to account for the facts in the case. These critical plots, we have shown, do not account for the facts of the case, for the critics do not excel in constructing plots. They wander into unperceived self-contradictions which they would not pardon in the poet. These contradictions are visible to “the analytical reader,” who concludes that a very early poet may have been, though Homer seldom is, as inconsistent as a modern critic.

Meanwhile, though we have no external evidence that the Iliad was ever expanded — that it was expanded is an explanatory myth of the critics —“we do know, on good evidence,” says Mr. Jevons, “that the Iliad was rhapsodised.” The rhapsodists were men, as a rule, of one day recitations, though at a prolonged festival at Athens there was time for the whole Iliad to be recited. “They chose for recitation such incidents as could be readily detached, were interesting in themselves, and did not take too long to recite.” Mr. Jevons suggests that the many brief poems collected in the Homeric hymns are invocations which the rhapsodists preluded74 to their recitals76. The practice seems to have been for the rhapsodist first to pay his reverence77 to the god, “to begin from the god,” at whose festival the recitation was being given (the short proems collected in the Hymns pay this reverence), “and then proceed with his rhapsody”— with his selected passage from the Iliad, “Beginning with thee” (the god of the festival), “I will go on to another lay,” that is, to his selection from the Epic. Another conclusion of the proem often is, “I will be mindful both of thee and of another lay,” meaning, says Mr. Jevons, that “the local deity78 will figure in the recitation from Homer which the rhapsodist is about to deliver.”

These explanations, at all events, yield good sense. The invocation of Athene (Hymns, XI., XXVIII.) would serve as the proem of invocation to the recital75 of Iliad, V., VI. 1–311, the day of valour of Diomede, spurred on by the wanton rebuke79 of Agamemnon, and aided by Athene. The invocation of Hephaestus (Hymn XX.), would prelude to a recital of the Making of the Awns of Achilles, and so on.

But the rhapsodist may be reciting at a festival of Dionysus, about whom there is practically nothing said in the Iliad; for it is a proof of the antiquity of the Iliad that, when it was composed, Dionysus had not been raised to the Olympian peerage, being still a folk-god only. The rhapsodist, at a feast of Dionysus in later times, has to introduce the god into his recitation. The god is not in his text, but he adds him. 403

Why should any mortal have made this interpolation? Mr. Jevons’s theory supplies the answer. The rhapsodist added the passages to suit the Dionysus feast, at which he was reciting.

The same explanation is offered for the long story of the Birth of Heracles which Agamemnon tells in his speech of apology and reconciliation80. 404 There is an invocation to Heracles (Hymns, XV.), and the author may have added this speech to his rhapsody of the Reconciliation, recited at a feast of Heracles. Perhaps the remark of Mr. Leaf offers the real explanation of the presence of this long story in the speech of Agamemnon: “Many speakers with a bad case take refuge in telling stories.” Agamemnon shows, says Mr. Leaf, “the peevish81 nervousness of a man who feels that he has been in the wrong,” and who follows a frank speaker like Achilles, only eager for Agamemnon to give the word to form and charge. So Agamemnon takes refuge in a long story, throwing the blame of his conduct on Destiny.

We do not need, then, the theory of a rhapsodist’s interpolation, but it is quite plausible82 in itself.

Local heroes, as well as gods, had their feasts in post-Homeric times, and a reciter at a feast of AEneas, or of his mother, Aphrodite, may have foisted83 in the very futile84 discourse85 of Achilles and AEneas, 405 with its reference to Erichthonius, an Athenian hero.

In other cases the rhapsodist rounded off his selected passage by a few lines, as in Iliad, XIII. 656–659, where a hero is brought to follow his son’s dead body to the grave, though the father had been killed in V. 576. “It is really such a slip as is often made by authors who write,” says Mr. Leaf; and, in Esmond, Thackeray makes similar errors. The passage in XVI. 69–80, about which so much is said, as if it contradicted Book IX. (The Embassy to Achilles), is also, Mr. Jevons thinks, to be explained as “inserted by a rhapsodist wishing to make his extract complete in itself.” Another example — the confusion in the beginning of Book II.— we have already discussed (see Chapter IV.), and do not think that any explanation is needed, when we understand that Agamemnon, once wide-awake, had no confidence in his dream. However, Mr. Jevons thinks that rhapsodists, anxious to recite straight on from the dream to the battle, added II. 35–41, “the only lines which represent Agamemnon as believing confidently in his dream.” We have argued that he only believed till he awoke, and then, as always, wavered.

Thus, in our way of looking at these things, interpolations by rhapsodists are not often needed as explanations of difficulties. Still, granted that the rhapsodists, like the jongleurs, had texts, and that these were studied by the makers86 of the Vulgate, interpolations and errors might creep in by this way. As to changes in language, “a poetical87 dialect . . . is liable to be gradually modified by the influence of the ever-changing colloquial88 speech. And, in the early times, when writing was little used, this influence would be especially operative.” 406

To conclude, the hypothesis of a school of mnemonic teaching of the Iliad would account for the preservation of so long a poem in an age destitute89 of writing, when memory would be well cultivated. There may have been such schools. We only lack evidence for their existence. But against the hypothesis of the existence of early texts, there is nothing except the feeling of some critics that it is not likely. “They are dangerous guides, the feelings.”

In any case the opinion that the Iliad was a whole, centuries before Pisistratus, is the hypothesis which is by far the least fertile in difficulties, and, consequently, in inconsistent solutions of the problems which the theory of expansion first raises, and then, like an unskilled magician, fails to lay.

The End


点击收听单词发音收听单词发音  

1 allege PfEyT     
vt.宣称,申述,主张,断言
参考例句:
  • The newspaper reporters allege that the man was murdered but they have given no proof.新闻记者们宣称这个男人是被谋杀的,但他们没提出证据。
  • Students occasionally allege illness as the reason for absence.学生时不时会称病缺课。
2 epic ui5zz     
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。
3 breakdown cS0yx     
n.垮,衰竭;损坏,故障,倒塌
参考例句:
  • She suffered a nervous breakdown.她患神经衰弱。
  • The plane had a breakdown in the air,but it was fortunately removed by the ace pilot.飞机在空中发生了故障,但幸运的是被王牌驾驶员排除了。
4 mosaic CEExS     
n./adj.镶嵌细工的,镶嵌工艺品的,嵌花式的
参考例句:
  • The sky this morning is a mosaic of blue and white.今天早上的天空是幅蓝白相间的画面。
  • The image mosaic is a troublesome work.图象镶嵌是个麻烦的工作。
5 compilation kptzy     
n.编译,编辑
参考例句:
  • One of the first steps taken was the compilation of a report.首先采取的步骤之一是写一份报告。
  • The compilation of such diagrams,is of lasting value for astronomy.绘制这样的图对天文学有永恒的价值。
6 unity 4kQwT     
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。
7 archaeology 0v2zi     
n.考古学
参考例句:
  • She teaches archaeology at the university.她在大学里教考古学。
  • He displayed interest in archaeology.他对考古学有兴趣。
8 dint plVza     
n.由于,靠;凹坑
参考例句:
  • He succeeded by dint of hard work.他靠苦干获得成功。
  • He reached the top by dint of great effort.他费了很大的劲终于爬到了顶。
9 hymns b7dc017139f285ccbcf6a69b748a6f93     
n.赞美诗,圣歌,颂歌( hymn的名词复数 )
参考例句:
  • At first, they played the hymns and marches familiar to them. 起初他们只吹奏自己熟悉的赞美诗和进行曲。 来自英汉非文学 - 百科语料821
  • I like singing hymns. 我喜欢唱圣歌。 来自辞典例句
10 exertions 2d5ee45020125fc19527a78af5191726     
n.努力( exertion的名词复数 );费力;(能力、权力等的)运用;行使
参考例句:
  • As long as they lived, exertions would not be necessary to her. 只要他们活着,是不需要她吃苦的。 来自辞典例句
  • She failed to unlock the safe in spite of all her exertions. 她虽然费尽力气,仍未能将那保险箱的锁打开。 来自辞典例句
11 mythical 4FrxJ     
adj.神话的;虚构的;想像的
参考例句:
  • Undeniably,he is a man of mythical status.不可否认,他是一个神话般的人物。
  • Their wealth is merely mythical.他们的财富完全是虚构的。
12 secular GZmxM     
n.牧师,凡人;adj.世俗的,现世的,不朽的
参考例句:
  • We live in an increasingly secular society.我们生活在一个日益非宗教的社会。
  • Britain is a plural society in which the secular predominates.英国是个世俗主导的多元社会。
13 conserved d1dc02a3bfada72e10ece79fe3aa19af     
v.保护,保藏,保存( conserve的过去式和过去分词 )
参考例句:
  • He conserved his energy for the game. 他为比赛而养精蓄锐。 来自《简明英汉词典》
  • Under these conditions, the total mechanical energy remains constant, or is conserved. 在这种条件下,总机械能保持不变或机械能保存。 来自辞典例句
14 epics a6d7b651e63ea6619a4e096bc4fb9453     
n.叙事诗( epic的名词复数 );壮举;惊人之举;史诗般的电影(或书籍)
参考例句:
  • one of the great Hindu epics 伟大的印度教史诗之一
  • Homer Iliad and Milton's Paradise Lost are epics. 荷马的《伊利亚特》和弥尔顿的《失乐园》是史诗。 来自互联网
15 favourable favourable     
adj.赞成的,称赞的,有利的,良好的,顺利的
参考例句:
  • The company will lend you money on very favourable terms.这家公司将以非常优惠的条件借钱给你。
  • We found that most people are favourable to the idea.我们发现大多数人同意这个意见。
16 perishable 9uKyk     
adj.(尤指食物)易腐的,易坏的
参考例句:
  • Many fresh foods are highly perishable.许多新鲜食物都极易腐败。
  • Fruits are perishable in transit.水果在运送时容易腐烂。
17 papyrus hK9xR     
n.古以纸草制成之纸
参考例句:
  • The Egyptians wrote on papyrus.埃及人书写用薄草纸。
  • Since papyrus dries up and crumble,very few documents of ancient Egypt have survived.因草片会干裂成粉末所以古埃及的文件很少保存下来。
18 preservation glnzYU     
n.保护,维护,保存,保留,保持
参考例句:
  • The police are responsible for the preservation of law and order.警察负责维持法律与秩序。
  • The picture is in an excellent state of preservation.这幅画保存得极为完好。
19 inscribed 65fb4f97174c35f702447e725cb615e7     
v.写,刻( inscribe的过去式和过去分词 );内接
参考例句:
  • His name was inscribed on the trophy. 他的名字刻在奖杯上。
  • The names of the dead were inscribed on the wall. 死者的名字被刻在墙上。 来自《简明英汉词典》
20 apparently tMmyQ     
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。
21 underlies d9c77c83f8c2ab289262fec743f08dd0     
v.位于或存在于(某物)之下( underlie的第三人称单数 );构成…的基础(或起因),引起
参考例句:
  • I think a lack of confidence underlies his manner. 我认为他表现出的态度是因为他缺乏信心。 来自《简明英汉词典》
  • Try to figure out what feeling underlies your anger. 努力找出你的愤怒之下潜藏的情感。 来自辞典例句
22 judgment e3xxC     
n.审判;判断力,识别力,看法,意见
参考例句:
  • The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
  • He's a man of excellent judgment.他眼力过人。
23 patchwork yLsx6     
n.混杂物;拼缝物
参考例句:
  • That proposal is nothing else other than a patchwork.那个建议只是一个大杂烩而已。
  • She patched new cloth to the old coat,so It'seemed mere patchwork. 她把新布初到那件旧上衣上,所以那件衣服看上去就象拼凑起来的东西。
24 guild 45qyy     
n.行会,同业公会,协会
参考例句:
  • He used to be a member of the Writers' Guild of America.他曾是美国作家协会的一员。
  • You had better incorporate the firm into your guild.你最好把这个公司并入你的行业协会。
25 guilds e9f26499c2698dea8220dc23cd98d0a8     
行会,同业公会,协会( guild的名词复数 )
参考例句:
  • View list of the guilds that Small has war on. 看目前有哪些公会是我们公会开战的对象及对我们开战的对象。
  • Guilds and kingdoms fit more with the Middle Age fantasy genre. (裴):公会和王国更适合中世纪奇幻类型。
26 subjective mtOwP     
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。
27 mere rC1xE     
adj.纯粹的;仅仅,只不过
参考例句:
  • That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
  • It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。
28 unfamiliar uk6w4     
adj.陌生的,不熟悉的
参考例句:
  • I am unfamiliar with the place and the people here.我在这儿人地生疏。
  • The man seemed unfamiliar to me.这人很面生。
29 subconscious Oqryw     
n./adj.潜意识(的),下意识(的)
参考例句:
  • Nail biting is often a subconscious reaction to tension.咬指甲通常是紧张时的下意识反映。
  • My answer seemed to come from the subconscious.我的回答似乎出自下意识。
30 applied Tz2zXA     
adj.应用的;v.应用,适用
参考例句:
  • She plans to take a course in applied linguistics.她打算学习应用语言学课程。
  • This cream is best applied to the face at night.这种乳霜最好晚上擦脸用。
31 savage ECxzR     
adj.野蛮的;凶恶的,残暴的;n.未开化的人
参考例句:
  • The poor man received a savage beating from the thugs.那可怜的人遭到暴徒的痛打。
  • He has a savage temper.他脾气粗暴。
32 pointed Il8zB4     
adj.尖的,直截了当的
参考例句:
  • He gave me a very sharp pointed pencil.他给我一支削得非常尖的铅笔。
  • She wished to show Mrs.John Dashwood by this pointed invitation to her brother.她想通过对达茨伍德夫人提出直截了当的邀请向她的哥哥表示出来。
33 antiquity SNuzc     
n.古老;高龄;古物,古迹
参考例句:
  • The museum contains the remains of Chinese antiquity.博物馆藏有中国古代的遗物。
  • There are many legends about the heroes of antiquity.有许多关于古代英雄的传说。
34 diffusion dl4zm     
n.流布;普及;散漫
参考例句:
  • The invention of printing helped the diffusion of learning.印刷术的发明有助于知识的传播。
  • The effect of the diffusion capacitance can be troublesome.扩散电容会引起麻烦。
35 inscription l4ZyO     
n.(尤指石块上的)刻印文字,铭文,碑文
参考例句:
  • The inscription has worn away and can no longer be read.铭文已磨损,无法辨认了。
  • He chiselled an inscription on the marble.他在大理石上刻碑文。
36 inscriptions b8d4b5ef527bf3ba015eea52570c9325     
(作者)题词( inscription的名词复数 ); 献词; 碑文; 证劵持有人的登记
参考例句:
  • Centuries of wind and rain had worn away the inscriptions on the gravestones. 几个世纪的风雨已磨损了墓碑上的碑文。
  • The inscriptions on the stone tablet have become blurred with the passage of time. 年代久了,石碑上的字迹已经模糊了。
37 humble ddjzU     
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。
38 accomplishment 2Jkyo     
n.完成,成就,(pl.)造诣,技能
参考例句:
  • The series of paintings is quite an accomplishment.这一系列的绘画真是了不起的成就。
  • Money will be crucial to the accomplishment of our objectives.要实现我们的目标,钱是至关重要的。
39 accomplishments 1c15077db46e4d6425b6f78720939d54     
n.造诣;完成( accomplishment的名词复数 );技能;成绩;成就
参考例句:
  • It was one of the President's greatest accomplishments. 那是总统最伟大的成就之一。
  • Among her accomplishments were sewing,cooking,playing the piano and dancing. 她的才能包括缝纫、烹调、弹钢琴和跳舞。 来自《现代英汉综合大词典》
40 pottery OPFxi     
n.陶器,陶器场
参考例句:
  • My sister likes to learn art pottery in her spare time.我妹妹喜欢在空余时间学习陶艺。
  • The pottery was left to bake in the hot sun.陶器放在外面让炎热的太阳烘晒焙干。
41 dealing NvjzWP     
n.经商方法,待人态度
参考例句:
  • This store has an excellent reputation for fair dealing.该商店因买卖公道而享有极高的声誉。
  • His fair dealing earned our confidence.他的诚实的行为获得我们的信任。
42 jug QaNzK     
n.(有柄,小口,可盛水等的)大壶,罐,盂
参考例句:
  • He walked along with a jug poised on his head.他头上顶着一个水罐,保持着平衡往前走。
  • She filled the jug with fresh water.她将水壶注满了清水。
43 spout uGmzx     
v.喷出,涌出;滔滔不绝地讲;n.喷管;水柱
参考例句:
  • Implication in folk wealth creativity and undertaking vigor spout.蕴藏于民间的财富创造力和创业活力喷涌而出。
  • This acts as a spout to drain off water during a rainstorm.在暴风雨季,这东西被用作喷管来排水。
44 belly QyKzLi     
n.肚子,腹部;(像肚子一样)鼓起的部分,膛
参考例句:
  • The boss has a large belly.老板大腹便便。
  • His eyes are bigger than his belly.他眼馋肚饱。
45 zigzag Hf6wW     
n.曲折,之字形;adj.曲折的,锯齿形的;adv.曲折地,成锯齿形地;vt.使曲折;vi.曲折前行
参考例句:
  • The lightning made a zigzag in the sky.闪电在天空划出一道Z字形。
  • The path runs zigzag up the hill.小径向山顶蜿蜒盘旋。
46 attic Hv4zZ     
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?
47 nun THhxK     
n.修女,尼姑
参考例句:
  • I can't believe that the famous singer has become a nun.我无法相信那个著名的歌星已做了修女。
  • She shaved her head and became a nun.她削发为尼。
48 jugs 10ebefab1f47ca33e582d349c161a29f     
(有柄及小口的)水壶( jug的名词复数 )
参考例句:
  • Two china jugs held steaming gravy. 两个瓷罐子装着热气腾腾的肉卤。
  • Jugs-Big wall lingo for Jumars or any other type of ascenders. 大岩壁术语,祝玛式上升器或其它种类的上升器。
49 archaic 4Nyyd     
adj.(语言、词汇等)古代的,已不通用的
参考例句:
  • The company does some things in archaic ways,such as not using computers for bookkeeping.这个公司有些做法陈旧,如记账不使用电脑。
  • Shaanxi is one of the Chinese archaic civilized origins which has a long history.陕西省是中国古代文明发祥之一,有悠久的历史。
50 iota Eauzq     
n.些微,一点儿
参考例句:
  • There is not an iota of truth in his story.他的故事没有一点是真的。
  • He's never shown an iota of interest in any kind of work.他从来没有对任何工作表现出一点儿兴趣。
51 contemplated d22c67116b8d5696b30f6705862b0688     
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。
52 vessels fc9307c2593b522954eadb3ee6c57480     
n.血管( vessel的名词复数 );船;容器;(具有特殊品质或接受特殊品质的)人
参考例句:
  • The river is navigable by vessels of up to 90 tons. 90 吨以下的船只可以从这条河通过。 来自《简明英汉词典》
  • All modern vessels of any size are fitted with radar installations. 所有现代化船只都有雷达装置。 来自《现代汉英综合大词典》
53 precisely zlWzUb     
adv.恰好,正好,精确地,细致地
参考例句:
  • It's precisely that sort of slick sales-talk that I mistrust.我不相信的正是那种油腔滑调的推销宣传。
  • The man adjusted very precisely.那个人调得很准。
54 deference mmKzz     
n.尊重,顺从;敬意
参考例句:
  • Do you treat your parents and teachers with deference?你对父母师长尊敬吗?
  • The major defect of their work was deference to authority.他们的主要缺陷是趋从权威。
55 illiteracy VbuxY     
n.文盲
参考例句:
  • It is encouraging to read that illiteracy is declining.从读报中了解文盲情况正在好转,这是令人鼓舞的。
  • We must do away with illiteracy.我们必须扫除文盲。
56 colossal sbwyJ     
adj.异常的,庞大的
参考例句:
  • There has been a colossal waste of public money.一直存在巨大的公款浪费。
  • Some of the tall buildings in that city are colossal.那座城市里的一些高层建筑很庞大。
57 conjecture 3p8z4     
n./v.推测,猜测
参考例句:
  • She felt it no use to conjecture his motives.她觉得猜想他的动机是没有用的。
  • This conjecture is not supported by any real evidence.这种推测未被任何确切的证据所证实。
58 motifs ad7b2b52ecff1d960c02db8f14bea812     
n. (文艺作品等的)主题( motif的名词复数 );中心思想;基本模式;基本图案
参考例句:
  • I try to develop beyond the old motifs. 我力求对传统的花纹图案做到推陈出新。 来自辞典例句
  • American Dream is one of the most important motifs of American literature. “美国梦”是美国文学最重要的母题之一。 来自互联网
59 odyssey t5kzU     
n.长途冒险旅行;一连串的冒险
参考例句:
  • The march to Travnik was the final stretch of a 16-hour odyssey.去特拉夫尼克的这段路是长达16小时艰险旅行的最后一程。
  • His odyssey of passion, friendship,love,and revenge was now finished.他的热情、友谊、爱情和复仇的漫长历程,到此结束了。
60 repertoire 2BCze     
n.(准备好演出的)节目,保留剧目;(计算机的)指令表,指令系统, <美>(某个人的)全部技能;清单,指令表
参考例句:
  • There is an extensive repertoire of music written for the flute.有很多供长笛演奏的曲目。
  • He has added considerably to his piano repertoire.他的钢琴演奏曲目大大增加了。
61 considerably 0YWyQ     
adv.极大地;相当大地;在很大程度上
参考例句:
  • The economic situation has changed considerably.经济形势已发生了相当大的变化。
  • The gap has narrowed considerably.分歧大大缩小了。
62 incite kx4yv     
v.引起,激动,煽动
参考例句:
  • I wanted to point out he was a very good speaker, and could incite a crowd.我想说明他曾是一个非常出色的演讲家,非常会调动群众的情绪。
  • Just a few words will incite him into action.他只需几句话一将,就会干。
63 prelude 61Fz6     
n.序言,前兆,序曲
参考例句:
  • The prelude to the musical composition is very long.这首乐曲的序曲很长。
  • The German invasion of Poland was a prelude to World War II.德国入侵波兰是第二次世界大战的序幕。
64 forth Hzdz2     
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。
65 renowned okSzVe     
adj.著名的,有名望的,声誉鹊起的
参考例句:
  • He is one of the world's renowned writers.他是世界上知名的作家之一。
  • She is renowned for her advocacy of human rights.她以提倡人权而闻名。
66 descended guQzoy     
a.为...后裔的,出身于...的
参考例句:
  • A mood of melancholy descended on us. 一种悲伤的情绪袭上我们的心头。
  • The path descended the hill in a series of zigzags. 小路呈连续的之字形顺着山坡蜿蜒而下。
67 quotations c7bd2cdafc6bfb4ee820fb524009ec5b     
n.引用( quotation的名词复数 );[商业]行情(报告);(货物或股票的)市价;时价
参考例句:
  • The insurance company requires three quotations for repairs to the car. 保险公司要修理这辆汽车的三家修理厂的报价单。 来自《简明英汉词典》
  • These quotations cannot readily be traced to their sources. 这些引语很难查出出自何处。 来自《现代汉英综合大词典》
68 herd Pd8zb     
n.兽群,牧群;vt.使集中,把…赶在一起
参考例句:
  • She drove the herd of cattle through the wilderness.她赶着牛群穿过荒野。
  • He had no opinions of his own but simply follow the herd.他从无主见,只是人云亦云。
69 tacking 12c7a2e773ac7a9d4a10e74ad4fdbf4b     
(帆船)抢风行驶,定位焊[铆]紧钉
参考例句:
  • He was tacking about on this daily though perilous voyage. 他在进行这种日常的、惊险的航行。
  • He spent the afternoon tacking the pictures. 他花了一个下午的时间用图钉固定那些图片。
70 discrepancies 5ae435bbd140222573d5f589c82a7ff3     
n.差异,不符合(之处),不一致(之处)( discrepancy的名词复数 )
参考例句:
  • wide discrepancies in prices quoted for the work 这项工作的报价出入很大
  • When both versions of the story were collated,major discrepancies were found. 在将这个故事的两个版本对照后,找出了主要的不符之处。 来自《简明英汉词典》
71 analytical lLMyS     
adj.分析的;用分析法的
参考例句:
  • I have an analytical approach to every survey.对每项调查我都采用分析方法。
  • As a result,analytical data obtained by analysts were often in disagreement.结果各个分析家所得的分析数据常常不一致。
72 fictitious 4kzxA     
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。
73 narrative CFmxS     
n.叙述,故事;adj.叙事的,故事体的
参考例句:
  • He was a writer of great narrative power.他是一位颇有记述能力的作家。
  • Neither author was very strong on narrative.两个作者都不是很善于讲故事。
74 preluded 2128449a05297528c1a23b19d9110de7     
v.为…作序,开头(prelude的过去式与过去分词形式)
参考例句:
  • He preluded with some cliche. 他一开场便是老生常谈。 来自《现代英汉综合大词典》
  • He preluded with some friendly remarks. 他讲了几句友好的话作为开场白。 来自辞典例句
75 recital kAjzI     
n.朗诵,独奏会,独唱会
参考例句:
  • She is going to give a piano recital.她即将举行钢琴独奏会。
  • I had their total attention during the thirty-five minutes that my recital took.在我叙述的35分钟内,他们完全被我吸引了。
76 recitals 751371ca96789c59fbc162a556dd350a     
n.独唱会( recital的名词复数 );独奏会;小型音乐会、舞蹈表演会等;一系列事件等的详述
参考例句:
  • His recitals have earned him recognition as a talented performer. 他的演奏会使他赢得了天才演奏家的赞誉。 来自《简明英汉词典》
  • Her teachers love her playing, and encourage her to recitals. 她的老师欣赏她的演奏,并鼓励她举办独奏会。 来自互联网
77 reverence BByzT     
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。
78 deity UmRzp     
n.神,神性;被奉若神明的人(或物)
参考例句:
  • Many animals were seen as the manifestation of a deity.许多动物被看作神的化身。
  • The deity was hidden in the deepest recesses of the temple.神藏在庙宇壁龛的最深处。
79 rebuke 5Akz0     
v.指责,非难,斥责 [反]praise
参考例句:
  • He had to put up with a smart rebuke from the teacher.他不得不忍受老师的严厉指责。
  • Even one minute's lateness would earn a stern rebuke.哪怕迟到一分钟也将受到严厉的斥责。
80 reconciliation DUhxh     
n.和解,和谐,一致
参考例句:
  • He was taken up with the reconciliation of husband and wife.他忙于做夫妻间的调解工作。
  • Their handshake appeared to be a gesture of reconciliation.他们的握手似乎是和解的表示。
81 peevish h35zj     
adj.易怒的,坏脾气的
参考例句:
  • A peevish child is unhappy and makes others unhappy.一个脾气暴躁的孩子自己不高兴也使别人不高兴。
  • She glared down at me with a peevish expression on her face.她低头瞪着我,一脸怒气。
82 plausible hBCyy     
adj.似真实的,似乎有理的,似乎可信的
参考例句:
  • His story sounded plausible.他说的那番话似乎是真实的。
  • Her story sounded perfectly plausible.她的说辞听起来言之有理。
83 foisted 6cc62101dd8d4a2284e34b7d3dedbfb9     
强迫接受,把…强加于( foist的过去式和过去分词 )
参考例句:
  • She resented having the child foisted on her while the parents went travelling abroad. 她对孩子的父母出国旅行卻硬要她来照看孩子这事很反感。
  • The author discovered that the translator had foisted several passages into his book. 作者发现译者偷偷在他的原著中插入了几段。
84 futile vfTz2     
adj.无效的,无用的,无希望的
参考例句:
  • They were killed,to the last man,in a futile attack.因为进攻失败,他们全部被杀,无一幸免。
  • Their efforts to revive him were futile.他们对他抢救无效。
85 discourse 2lGz0     
n.论文,演说;谈话;话语;vi.讲述,著述
参考例句:
  • We'll discourse on the subject tonight.我们今晚要谈论这个问题。
  • He fell into discourse with the customers who were drinking at the counter.他和站在柜台旁的酒客谈了起来。
86 makers 22a4efff03ac42c1785d09a48313d352     
n.制造者,制造商(maker的复数形式)
参考例句:
  • The makers of the product assured us that there had been no sacrifice of quality. 这一产品的制造商向我们保证说他们没有牺牲质量。
  • The makers are about to launch out a new product. 制造商们马上要生产一种新产品。 来自《简明英汉词典》
87 poetical 7c9cba40bd406e674afef9ffe64babcd     
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
88 colloquial ibryG     
adj.口语的,会话的
参考例句:
  • It's hard to understand the colloquial idioms of a foreign language.外语里的口头习语很难懂。
  • They have little acquaintance with colloquial English. 他们对英语会话几乎一窍不通。
89 destitute 4vOxu     
adj.缺乏的;穷困的
参考例句:
  • They were destitute of necessaries of life.他们缺少生活必需品。
  • They are destitute of common sense.他们缺乏常识。


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