Then there is the principle of the Anglo-Saxon, Icelandic, and Teutonic peoples, which prevailed in England even down to the time of Chaucer, in which verse is marked only by accent and staff-rhyme, in other words is alliterative as in the "Book of Piers8 Ploughman."
Lastly, there is the rhymed poetry of the later Middle Ages, of which outside of Wales and Ireland there probably exists no example in a European vernacular9 language older than the ninth century. This system, apparently10 invented by the Celts, assumed in Ireland a most extraordinary and artificial form of its own, the essence of which was that they divided the consonants12[Pg 540] into groups,[1] and any consonant11 belonging to a particular group was allowed to rhyme with any other consonant belonging to the same. Thus a word ending in t could rhyme with a word ending in p or c, but with no other; a word ending in b could rhyme with one ending in g or dy but with no other, and so on. Thus "rap" would have been considered by the Irish to make perfect rhyme with "sat" or "mac" but not with "rag"; and "rag" to make perfect rhyme with "slab14" or "mad," but not with "cap," "sat" or "mac."
This classification of the consonants which was taught in the Irish schools for very many hundred years, and which forms the basis of the classical poetry which we spoke15 of in the last chapter, is to a considerable extent—I do not quite know how far—founded upon really sound phonological principles,[2] and the ear of the Irishman was so finely attuned16 to it that no mistake was ever made, for while such rhymes as "Flann" and "ram1" fell agreeably on his ear, any Irish poet for a thousand years would have shuddered17 to hear "Flann" rhymed with "raff." This accurate ear for the classification of consonants is now almost a lost sense, but even still traces of it may be found in the barbarous English rhymes of the Irish peasantry, as in such rude verses as this from the County Cavan—
"By loving of a maiD,
One Catherine Mac CaBe,
My life it was betrayeD,
She's a dear maid on me."
[Pg 541]
Or this—
"I courted lovely Mary at the age of sixteeN
Slender was her waist and her carriage genteeL."
Or this from the County Dublin—
"When you were an acorn18 on the tree toP
Then was I an aigle[3] coCK,
Now that you are a withered19 ould bloCK
Still am I an aigle cock."
Or this from the County Cork20—
"Sir Henry kissed behind the bush
Sir Henry kissed the QuaKer;
Well and what if he did
Sure he didn't aTe her!"
Upon the whole, however, that keen perception for the nuances of sound, and that fine ear which insisted upon a liquid rhyming only with a fellow liquid, and so on of the other classes, may be considered as almost wholly lost.
We now come to the great breaking up and total disruption of the Irish prosody21 as employed for a thousand years by thousands of poets in the bardic23 schools and colleges. The principles of this great change may be summed up in two sentences; first, the adoption24 of vowel25 rhyme in place of consonantal26 rhyme; second, the adoption of a certain number of accents in each line in place of a certain number of syllables. These were two of the most far-reaching changes that could overtake the poetry of any country, and they completely metamorphosed that of Ireland.
It was only on the destruction of the great Milesian and Norman families in the seventeenth century, that the rules of poetry, so long and so carefully guarded in the bardic schools, ceased to be taught; and it was the break up of these schools which rendered the success of the new principles[Pg 542] possible. A brilliant success they had. Almost in the twinkling of an eye Irish poetry completely changed its form and complexion27, and from being, as it were, so bound up and swathed around with rules that none who had not spent years over its technicalities could move about in it with vigour28, its spirit suddenly burst forth29 in all the freedom of the elements, and clothed itself, so to speak, in the colours of the rainbow. Now indeed for the first time poetry became the handmaid of the many, not the mistress of the few; and through every nook and corner of the island the populace, neglecting all bardic training, burst forth into the most passionate30 song. Now, too, the remnant of the bards31—the great houses being fallen—turned instinctively32 to the general public, and threw behind them the intricate metres of the schools, and dropped too, at a stroke, several thousand words, which no one except the great chiefs and those trained by the poets understood, whilst they broke out into beautiful, and at the same time intelligible33 verse, which no Gael of Ireland and Scotland who has ever heard or learned it is likely ever to forget. This is to my mind perhaps the sweetest creation of all Irish literature, the real glory of the modern Irish nation, and of the Scottish Highlands, this is the truest note of the enchanting34 Celtic siren, and he who has once heard it and remains35 deaf to its charm can have little heart for song or soul for music. The Gaelic poetry of the last two centuries both in Ireland and in the Highlands is probably the most sensuous36 attempt to convey music in words, ever made by man. It is absolutely impossible to convey the lusciousness38 of sound, richness of rhythm, and perfection of harmony, in another language. Scores upon scores of new and brilliant metres made their appearance, and the common Irish of the four provinces deprived of almost everything else, clung all the closer to the Muse39. Of it indeed they might have said in the words of Moore—
"Through grief and through danger thy smile has cheered my way
Till hope seemed to bud from each thorn that round about me lay."
[Pg 543]
It is impossible to convey any idea of this new outburst of Irish melody in another language. Suffice it to say that the principle of it was a wonderful arrangement of vowel sounds, so placed that in every accented syllable, first one vowel and then another fell upon the ear in all possible kinds of harmonious40 modifications41. Some verses are made wholly on the á sound, others on the ó, ú, é, í sounds, but the majority on a wonderful and fascinating intermixture of two, three, or more. The consonants which played so very prominent a part under the old bardic system were utterly42 neglected now, and vowel sounds alone were sought for.
The Scottish Gaels, if I am not mistaken, led the way in this great change, which metamorphosed the poetry of an entire people in both islands. The bardic system, outside of the kingdom of the Lord of the Isles43, had apparently scarcely taken the same hold upon the nobles, in Scotland as in Ireland, and the first modern Scotch44 Gaelic poet to start upon the new system seems to have been Mary, daughter of Alaster Rua MacLeod, who was born in Harris in 1569, and who appears to have possessed47 no higher social standing48 than that of a kind of lady nurse in the chief's family. If the nine poems in free vowel metres, which are attributed to her by Mackenzie in his great collection,[4] be genuine, then I should consider her as the[Pg 544] pioneer of the new school. Certainly no Irishman nor Irishwoman of the sixteenth century has left anything like Mary's metres behind them, and indeed I have not met more than one or two of them used in Ireland during that century.[5] No one, for instance, would have dreamt of vowel-rhyming thus, as she does over the drowning of Mac'Illachallun:
"My grief my pain,
Relief was vain
The seething49 wave
Did leap and rave50,
And reeve in twain,
Both sheet and sail,
And leave us bare
And FOUNDERING51.
Alas46, indeed,
For her you leave
Your brothers grief
To them will cleave52.
It was on Easter
Monday's feast
The branch of peace
Went DOWN WITH YOU."
The earliest intimations of the new school in Ireland which I have been able to come across, occur towards the very close of the sixteenth century, one being a war ode on a victory of the O'Byrnes,[6] and the other being an abhran or[Pg 545] song addressed by a bard22 unknown to me, one John Mac Céibhfinn to O'Conor Sligo, apparently on his being blockaded by Red Hugh in the country of the Clan53 Donogh in 1599.
As for the classical metres of the schools they were already completely lost by the middle of the eighteenth century, and the last specimen54 which I have found composed in Connacht is one by Father Patrick O'Curneen,[7] to the house of the O'Conors, of Belanagare, in 1734, which is in perfect Deibhidh metre.
"She who Rules the Race is one
SPrung from the sparring Ternon,
MARY MILD of MIEN55 O'Rorke,
Our FAIRY CHILD QUEEN bulwark56.[8]
[Pg 546]
Let me Pray the puissant57 one
To Mark them in their Mansion58,
Guard from FEAR their FAME and wed13
Each YEAR their NAME and homestead."
In Munster I find the poet Andrew Mac Curtin some time between the year 1718 and 1743,[9] complaining to James Mac Donnell, of Kilkee, that he had to frame "a left-handed awkward ditty of a thing," meaning a poem of the new school; "but I have had to do it," he says, "to fit myself in with the evil fashion that was never practised in Erin before, since it is a thing that I see, that greater is the respect and honour every dry scant-educated boor59, or every clumsy baogaire of little learning, who has no clear view of either alliteration60 or poetry,[10] gets from the noblemen of the country, than the courteous61 very-educated shanachy or man of song, if he compose a well-made lay or poem." Nevertheless, he insists that he will make a true poem, "although wealthy men of herds62, or people of riches think that I am a fool if I compose a lay or poem in good taste, that is not my belief. Although rich men of herds, merchants, or people who put out money to grow, think that great is the blindness and want of sense to[Pg 547] compose a duan or a poem, they being well satisfied if only they can speak the Saxon dialect, and are able to have stock of bullocks or sheep, and to put redness [i.e., of cultivation] on hills—nevertheless, it is by me understood that they are very greatly deceived, because their herds and their heavy riches shall go by like a summer fog, but the scientific work shall be there to be seen for ever," etc. The poem which he composed on that occasion was, perhaps, the last in Deibhidh metre composed in the province of Munster.[11]
In Scotland the Deibhidh was not forgotten until after Sheriffmuir, in 1715. There is an admirable elegy64 of 220 lines in the Book of Clanranald on Allan of Clanranald, who was there slain65.[12] It is in no way distinguishable from an Irish poem of the same period. There are other poems in this book in perfect classical metres, for in the kingdom of the Lord of the Isles the bards and their schools may be said to have almost found a last asylum66. Indeed, up to this period, so far as I can see,—whatever may have been the case with the spoken language—the written language of the two countries was absolutely identical, and Irish bards and harpers found a second home in North Scotland and the Isles, where such poems as those of Gerald, fourth Earl of Desmond, appear to have been as popular as they were in Munster. We may, then, place the generation that lived between Sheriffmuir and Culloden as that which witnessed the end of the classical metres in both countries, over all Ireland and Gaelic-speaking Scotland, from Sutherland in the North, to the County Kerry in the South, so that, from that day to this, vowel-rhyming accented metres which had been making their way in both[Pg 548] countries from a little before the year 1600, have reigned67 without any rival.
Wonderful metres these were. Here is an example of one made on the vowels68 é [?] and ó, but while the arrangement in the first half of the verse is o/é, é/o, é/o, o; the arrangement in the second half is o é, o é, o é, é. I have translated it in such a way as to mark the vowel rhymes, and this will show better than anything else the plan of Irish poetry during the last 250 years. To understand the scheme thoroughly69 the vowels must not be slurred70 over, but be dwelt upon and accentuated71 as they are in Irish.
"The pOets with lAys are uprAising their nOtes
In amAze, and they knOw how their tOnes will delight,
For the gOlden-hair lAdy so grAceful72, so pOseful,
So gAElic, so glOrious enthrOned in our sight
UnfOlding a tAle, how the sOul of a fAy must
Be clOthed in the frAme of a lAdy so bright,
UntOld73 are her grAces, a rOse in her fAce is
And nO man so stAid is but fAints at her sight."[13]
Here is another verse of a different character, in which three words follow each other in each line, all making a different vowel-rhyme.
"O swan brightly GLEAMING o'er ponds whitely BEAMING,
Swim on lightly CLEAVING74 and flashing through sea,
The wan63 night is LEAVING my fond sprite in GRIEVING
Beyond sight, or SEEING thou'rt passing from me."
[Pg 549]
Here is another typical verse of a metre in which many poems were made to the air of Moreen ni [nee] Cullenáin. It is made on the sounds of o, ee, ar—o, ar—o, repeated in the same order four times in every verse, the second and third o's being dissyllables. It is a beautiful and intricate metre.
"AlOne with mE a bARd rOving
On guARd gOing ere the dawn,
Was bOld to sEE afAR rOaming
The stAR MOreen ni Cullenaun.
The Only shE the ARch-gOing
The dARk-flOwing fairy fawn75,
With sOulful glEE the lARks76 sOaring
Like spARks O'er her lit the lawn."[14]
Here is another metre from a beautiful Scotch Gaelic poem. The Scotch Gaels, like the Irish, produced about the same time a wonderful outburst of lyric77 poetry worthy78 to take a place in the national literature beside the spirited ballads80 of the Lowlands. Unlike the Lowlands, however, neither they nor the Irish can be said to have at all succeeded with the ballad79.
"To a fAR mountain hARbour
Prince ChARlie came flYing,
The wInds from the HIghlands
Wailed81 wIld in the air,
On his breast was no stAR,
And no guARd was besIde him,
But a girl by him glIding82
Who guIded him there.
[Pg 550]
Like a rAy went the mAiden83
Still fAithful, but mOurning,
For ChARlie was pARting
From heARts that adOred him,
And sIghing besIde him
She spIed over Ocean
The Oarsmen befOre them
ApprOaching their lair84."[15]
These beautiful and recondite85 measures were meant apparently to imitate music, and many of them are wedded86 to well-known airs. They did not all come into vogue87 at the same time, but reached their highest pitch of perfection and melody—melody at times exaggerated, too luscious37, almost cloying—about the middle of the eighteenth century, at a time when the Irish, deprived by the Penal88 laws of all possibility of bettering their condition or of educating themselves, could do nothing but sing, which they did in every county of Ireland, with all the sweetness of the dying swan.
Dr. Geoffrey Keating, the historian, himself said to have been a casual habitué of the schools of the bards, and a close friend of many of the bardic professors, was nevertheless one[Pg 551] of the first to wring89 himself free from the fetters90 of the classical metres, and to adopt an accented instead of a syllabic standard of verse. We must now go back and give some account of this remarkable91 man, and of some of his contemporaries of the seventeenth century.
********
[1] Their classification was as follows:—
S stood by itself because of the peculiar92 phonetic93 laws which it obeys.
P.C.T. called soft consonants [really hard not soft].
B.G.D. called hard consonants [these are in fact rather soft than hard],
F. CH. TH. called rough consonants.
LL. M. NN. NG. RR. called strong consonants.
Bh. Dh. Ch. Mh. L.N.R. called light consonants.
[2] "Diese Klasseneinteilung bekundet einen feinen Sinn für das Wesen der Laute," says Herr Stern, in the article I have just quoted from. See also the prosody in O'Donovan's grammar.
[3] "Eagle." This English rann dramatically denotes the longevity94 of that bird, as does also a well-known Irish one.
[4] See for her poems "Sár-obair na mbárd Gaelach," by Mackenzie, p. 22. Unfortunately he gives us no full account of where the poems were collected, all he says is, "We have the authority of several persons of high respectability, and on whose testimony95 we can rely, that Mary McLeod was the veritable authoress of the poems attributed to her in this work." This is, in an important matter of the kind, very unsatisfactory, but Mary's poem, "An talla 'm bu ghná le MacLeód," seems to bear internal evidence of its own antiquity96 in its allusions97 to the chief's bow—
"Si do lámh nach robh tuisleach,
Dol a chaitheadh a chuspair
Led' bhogha cruaidh ruiteach deagh-neóil,"
to which she alludes98 again in the line—
"Nuair leumadh an tsaighead ó do mheoir."
("When the arrow would leap from your fingers.")
[5] There are some poems in the Book of Ballymote in almost the same metre as the well-known "Seaghan O'Duibhir an Ghleanna." This metre was technically99 called, "Ocht-foclach Corranach beag." O'Curry gives a specimen in "Manners and Customs," vol. iii. p. 393, from the Book of Ballymote which has an astonishingly modern air, and may well give pause to those who claim that Irish accentual poetry is derived100 from an English source.
[6] This poem, which like O'Daly's war-song, is entirely101 accentual and vowel-rhyming, begins thus—
"A Bhratach ar a bhfaicim-se in gruaim ag fás
Dob' annamh leat in eaglais do bhuan-choimheád,
Da mairfeadh [sin] fear-seasta na gcruadh-throdán
Feadh t'amhairc do bhiadh agat do'n tuaith 'na h-áit.
O Flag, upon whom I see the melancholy102 growing,
Seldom was it thy lot to constantly guard the church (shut up there);
If there lived the man-who-withstood the hard conflicts
Far-as-thy-eye-could-see thou wouldst have of the country in place of it" [i.e., the church.]
(See Catalogue of the MSS. in the British Museum.)
[7] The O'Curneens were, according to Mac Firbis's great Book of Genealogies103, the hereditary104 poets and ollamhs of the O'Rorkes, with whom the O'Conors were closely related. The O'Conors' ollamh was O'Mulchonry.
[8] This poem begins—
"Togha teaghlaigh tar45 gach tír
Beul átha na gcárr gclaidh-mhín
Múr is fáilteach re file
An dún dáilteach deigh-inigh."
I.e., "A choice hearth105 beyond every country, is the mouth of the ford106 of the cars [Belanagare], the smooth-ditched. A fortress107 welcome-giving to poet, the bestowing108 homestead of good generosity109." The accented system had now been in vogue for nearly a century and a half, and if O'Curneen had wished to preserve an even rise and fall of accent in his verses (which he does do in his first line) he might have done so. That he did not do so, and that none of the straight-verse or classical poets attempted it, long after they had become acquainted with the other system, seems to me a strong proof that they did not intend it, and that they really possessed no system of "metrical accent" at all.
It is noticeable that O'Curneen wrote this poem in the difficult bardic dialect, so that Charles O'Conor of Belanagare, whose native language was Irish, was obliged in his copy to gloss110 over twenty words of it with more familiar ones of his own. These uncommon111 bardic terms were wholly thrown aside by the new school.
[9] His poem with its prose Irish preface is addressed to Sorley Mac Donnell, and Isabel, his wife, who was an O'Brien. They were married in 1718, and Mac Donnell died in 1743. See a collection of poems written by the Clare bards in honour of the Mac Donnells of Kilkee and Killone, in the County of Clare, collected and edited by Brian O'Looney for Major Mac Donnell, for private circulation in 1863.
[10] "Nach léir dó uaim no aisde."
[11] I have since, however, found a poem by Micheál óg O'Longain, written as late as 1800, which goes somewhat close to real Deibhidh. It begins—
"Tagraim libh a Chlann éibhir,
Leath bhur lúith nach lán léir libh
Méala dhaoibh thar aoin eile
A dul d'éag do'n gaoidheilge."
[12] Cameron's "Reliqui? Celtic?," vol. ii. p. 248.
[13] This is a poem by the Cork bard, Tadhg Gaolach O'Sullivan, who died in 1800. He wrote this poem in his youth, before his muse gave itself up, as it did in later days, to wholly religious subjects. In the original the rhymes are on é and ú.
"Taid éigse 'gus úghdair go trúpach ag pléireacht
So súgach, go sgléipeach 's a ndréachta dá snígheam
Ar Spéir-bhruinnioll mhúinte do phlúr-sgoth na h-éireann
Do úr-chriostal gAOlach a's réiltion na righeacht;
Ta fiúnn-lil ag pléireacht mar5 dhúbha ar an éclips,
Go clúdaighthe ag Phoébus, le AOn-ghile gnaoi,
'Sgur'na gnúis mhilis léightear do thúirling Cupid caémh-ghlic
Ag múchadh 'sag112 milleadh lAOchra le trEan-neart a shaoighid."
[14] "D' easgadh an pheacaidh, fóríor,
Do sheól sinn faoi dhlighthibh námhad,
Gan flathas Airt, ag pór Gaoidheal,
Gan seóid puinn, gan cion gan áird,
'Sgach bathlach bracach beól-bhuidhe
De'n chóip chríon do rith thar sáil
I gceannas fla?th 's i gcóimh-thigheas
Le Móirín ni Chuillionáin."
This is a verse from the same poem, but not the one above translated.
[15] See "Eachtraidh a' Phrionnsa le Iain Mac Coinnich," p. 270. The poem is by D. B. Mac Leóid. It looks like a later production, but will exemplify a not uncommon metre.
Gu cladach a' chuàin
Ri fuar-ghaoth an Anmoich
Thriall TeArlach gan deAllradh
Air Allaban 's e sgìth,
Gun reull air a bhroIlleach
No freIceadan a fAlbh leis
Ach ainnir nan gòrm-shul
Bu dealbhaiche lìth.
Mar dhaoimean 'san oidhche
Bha(n) mhaighdean fu thùrsa
Si cràiteach mu Thearlach
Bhi fàgail a dhùthcha;
Bu trom air a h-osna,
S bu ghoirt deòir a sùilean
Nuair chonnaic i 'n iùbhrach
A' dlùthadh re tìr.
点击
收听单词发音
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1
ram
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| (random access memory)随机存取存储器 | |
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2
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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varied
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| adj.多样的，多变化的 | |
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syllable
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| n.音节；vt.分音节 | |
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5
mar
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| vt.破坏，毁坏，弄糟 | |
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6
syllables
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| n.音节( syllable的名词复数 ) | |
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7
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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8
piers
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| n.水上平台( pier的名词复数 )；（常设有娱乐场所的）突堤；柱子；墙墩 | |
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9
vernacular
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| adj.地方的，用地方语写成的；n.白话；行话；本国语；动植物的俗名 | |
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10
apparently
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| adv.显然地；表面上，似乎 | |
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11
consonant
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| n.辅音；adj.[音]符合的 | |
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consonants
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| n.辅音，子音( consonant的名词复数 )；辅音字母 | |
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wed
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| v.娶，嫁，与…结婚 | |
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slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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15
spoke
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| 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 | |
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attuned
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| v.使协调( attune的过去式和过去分词 )；调音 | |
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shuddered
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| v.战栗( shudder的过去式和过去分词 )；发抖；（机器、车辆等）突然震动；颤动 | |
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acorn
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withered
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| adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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cork
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| n.软木，软木塞 | |
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prosody
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| n.诗体论，作诗法 | |
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bard
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| n.吟游诗人 | |
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bardic
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adoption
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vowel
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consonantal
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| adj.辅音的，带辅音性质的 | |
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complexion
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| n.肤色；情况，局面；气质，性格 | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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forth
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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31
bards
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| n.诗人( bard的名词复数 ) | |
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32
instinctively
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| adv.本能地 | |
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33
intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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34
enchanting
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| a.讨人喜欢的 | |
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35
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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36
sensuous
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| adj.激发美感的；感官的，感觉上的 | |
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37
luscious
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| adj.美味的；芬芳的；肉感的，引与性欲的 | |
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38
lusciousness
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39
muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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40
harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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41
modifications
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| n.缓和( modification的名词复数 )；限制；更改；改变 | |
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42
utterly
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| adv.完全地，绝对地 | |
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43
isles
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| 岛( isle的名词复数 ) | |
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44
scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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45
tar
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| n.柏油，焦油；vt.涂或浇柏油/焦油于 | |
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46
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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47
possessed
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| adj.疯狂的；拥有的，占有的 | |
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48
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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49
seething
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| 沸腾的，火热的 | |
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50
rave
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| vi.胡言乱语；热衷谈论；n.热情赞扬 | |
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51
foundering
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| v.创始人( founder的现在分词 ) | |
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52
cleave
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| v．(clave；cleaved)粘着，粘住；坚持；依恋 | |
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53
clan
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| n.氏族，部落，宗族，家族，宗派 | |
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54
specimen
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| n.样本，标本 | |
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55
mien
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| n.风采；态度 | |
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56
bulwark
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| n.堡垒，保障，防御 | |
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57
puissant
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| adj.强有力的 | |
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58
mansion
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| n.大厦，大楼；宅第 | |
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59
boor
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| n.举止粗野的人；乡下佬 | |
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60
alliteration
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| n.（诗歌的）头韵 | |
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61
courteous
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| adj.彬彬有礼的，客气的 | |
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62
herds
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| 兽群( herd的名词复数 )； 牧群； 人群； 群众 | |
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63
wan
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| (wide area network)广域网 | |
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64
elegy
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| n.哀歌，挽歌 | |
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65
slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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66
asylum
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| n.避难所，庇护所，避难 | |
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67
reigned
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| vi.当政，统治（reign的过去式形式） | |
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68
vowels
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| n.元音，元音字母( vowel的名词复数 ) | |
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69
thoroughly
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| adv.完全地，彻底地，十足地 | |
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70
slurred
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| 含糊地说出( slur的过去式和过去分词 )； 含糊地发…的声； 侮辱； 连唱 | |
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71
accentuated
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| v.重读( accentuate的过去式和过去分词 )；使突出；使恶化；加重音符号于 | |
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72
graceful
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| adj.优美的，优雅的；得体的 | |
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73
untold
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| adj.数不清的，无数的 | |
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74
cleaving
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| v.劈开，剁开，割开( cleave的现在分词 ) | |
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75
fawn
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| n.未满周岁的小鹿；v.巴结，奉承 | |
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76
larks
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| n.百灵科鸟（尤指云雀）( lark的名词复数 )；一大早就起床；鸡鸣即起；（因太费力而不想干时说）算了v.百灵科鸟（尤指云雀）( lark的第三人称单数 )；一大早就起床；鸡鸣即起；（因太费力而不想干时说）算了 | |
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77
lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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78
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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79
ballad
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| n.歌谣，民谣，流行爱情歌曲 | |
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80
ballads
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| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
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81
wailed
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| v.哭叫，哀号( wail的过去式和过去分词 ) | |
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82
gliding
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| v. 滑翔 adj. 滑动的 | |
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83
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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84
lair
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| n.野兽的巢穴；躲藏处 | |
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85
recondite
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| adj.深奥的，难解的 | |
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86
wedded
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| adj.正式结婚的；渴望…的，执著于…的v.嫁，娶，（与…）结婚( wed的过去式和过去分词 ) | |
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87
Vogue
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| n.时髦，时尚；adj.流行的 | |
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88
penal
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| adj.刑罚的；刑法上的 | |
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89
wring
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| n.扭绞；v.拧，绞出，扭 | |
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90
fetters
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| n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 ) | |
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91
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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92
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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93
phonetic
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| adj.语言的，语言上的，表示语音的 | |
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94
longevity
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| n.长命；长寿 | |
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95
testimony
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| n.证词；见证，证明 | |
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96
antiquity
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| n.古老；高龄；古物，古迹 | |
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97
allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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98
alludes
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| 提及，暗指( allude的第三人称单数 ) | |
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99
technically
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| adv.专门地，技术上地 | |
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100
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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101
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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102
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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103
genealogies
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| n.系谱，家系，宗谱( genealogy的名词复数 ) | |
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104
hereditary
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| adj.遗传的，遗传性的，可继承的，世袭的 | |
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105
hearth
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| n.壁炉炉床，壁炉地面 | |
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106
Ford
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| n.浅滩，水浅可涉处；v.涉水，涉过 | |
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107
fortress
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| n.堡垒，防御工事 | |
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108
bestowing
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| 砖窑中砖堆上层已烧透的砖 | |
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109
generosity
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| n.大度，慷慨，慷慨的行为 | |
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110
gloss
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| n.光泽，光滑；虚饰；注释；vt.加光泽于；掩饰 | |
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111
uncommon
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| adj.罕见的，非凡的，不平常的 | |
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112
sag
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| v.下垂，下跌，消沉；n.下垂，下跌，凹陷，[航海]随风漂流 | |
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