Beginning with methodical delimitations, I shall note in the first place that in a history of historiography as such, historical writings cannot be looked upon from the point of view proper to a history of literature—that is to say, as expressions of individual sentiments, as forms of art. Doubtless they are this also, and have a perfect right to form part of histories of literature, as the treatises10 and systems of the philosophers, the writings of Plato and Aristotle, of Bruno, of Leibnitz, and of Hegel; but in this case both are regarded not as works of history and of philosophy, but of literature and poetry; and the empirical scale of values which constitute the different modes of history in the cases of the same authors is different, because in a history of literature the place of a Plato will always be more considerable than that of an Aristotle, that of a Bruno than that of a Leibnitz, owing to the greater amount of passion and the greater richness of artistic12 problems contained in the former of each pair. The fact that in many volumes of literary history such diversity of treatment is not observed, and historians are talked of historically and not in a literary manner and philosophers philosophically13 rather than in a literary manner, is due to the substitution in such works of incoherent compilation15 for work that is properly critical and scientific. But the distinction between the two aspects is important for this reason also, that erroneous judgments16, praise, and censure17, alike unjustified, are apt to appear, owing to the careless transference of the scale of values from one history to another.[Pg 167] The slight esteem18 in which Polybius was held in antiquity19 and for some time after, because 'he did not write well' in comparison with the splendour of Livy or with the emotional intensity20 of Tacitus, is an instance of this, as is likewise in Italy the excessive praise lavished21 upon certain historians who were little more than correct and elegant writers of prose in comparison with others who were negligent22 and crude in their form, but serious students. Ulrici,[1] in his youthful book on ancient historiography, which despite its heaviness and verbosity23 of exposition has great merits, after having discussed the 'scientific value' of that historiography, also speaks at great length of 'artistic value'; but setting aside what of arbitrary is to be found in some of the laws that he applies to historiography as art, in conformity with the ?sthetic ideas of his time, it is evident that the second subject of which he treats does not coalesce24 with the first and is only placed side by side with it in the same way as those sections of works dealing with historical method are not connected but simply juxtaposed, and after having studied in their own way the formation of historical thought, the collection of materials or 'heuristic,' up to final 'comprehension,' begin to discuss the form of the 'exposition,' and in so doing continue without being aware of it the method of rhetorical treatises on the art of history composed during the Renaissance25. These have their chief exponent26 in Vossius (1623). We cannot abstain27 from sometimes mentioning the literary form of the works of historians, nor from according their laurels28 to works of remarkable29 literary value, while noting their unsatisfactory historiographical methods; but to touch here and there upon, to discuss, to characterize, to eliminate, is of secondary importance and[Pg 168] does not form part of the proper function of historiography, whose object is the development of historiographical thought.
The distinction between this history and that of philology30 or erudition is less apparent but not less indubitable, always, be it well understood, in the sense explained, of a distinction that is not a separation. This warning should be understood in respect of other exclusions32 that we are about to effect, without our being obliged to repeat it at every step; for the connexion between history and philology is undeniable, not less than that between history and art, or history and practical life. But that does not prevent philology in itself being the collection, the rearrangement, the purification of material, and not history. Owing to this quality it forms a part rather of the history of culture than of that of thought. It would be impossible to disassociate it from the history of libraries, archives, museums, universities, seminaries, écoles des chartes, academical and editorial enterprises, and from other institutions and proceedings34 of an entirely35 practical nature. Fueter has therefore been right in excluding from his theme in his recent work on the history of modern historiography[2] "the history of merely philological36 research and criticism." This has not prevented him from taking store where apposite of the school of Biondo or of that of Maurini, or of the perfecting of the method of seeking for the sources attained38 by the German school in the nineteenth century. The confusion and lack of development observable in the old and solid work of Wachler[3] is perhaps due to his having failed to make[Pg 169] this distinction, to which recourse can also be had with advantage elsewhere. Wachler's work, entitled and conceived as "history of research and of the historical art from the Renaissance of letters in Europe onward," ended by assuming the appearance of a repertory or bibliographical catalogue.
The obstacles to be encountered by the distinction between the history of historiography and that of the practical tendencies, or tendencies of the social and political spirit, are more intricate. These indeed become incorporated with or at least leave their mark upon the works of historians; but it is just because we can only with difficulty perceive the line of demarcation that it is indispensable to make it quite clear. Such tendencies, such social and political spirit, belong rather to the matter than to the theoretical form of history; they are not so much historiography as history in the act and in its fieri. Machiavelli is a historian in so far as he tries to understand the course of events; he is a politician, or at least a publicist, when he posits39 and desires a prince, founder40 of a strong national state, as his ideal, reflecting this in his history. This history, in so far as it portrays41 that ideal and the inspiration and teaching that accompany it, here and there becomes fable42 (fabula docet). Thus Machiavelli belongs partly to the history of thought in the Renaissance and partly to the history of the practice of the Renaissance. Nor does this happen solely43 in political and social historiography, but also in literary and artistic, because there is not perhaps a critic in the world, however unprejudiced and broad in his ideas, who does not manifest tendencies in the direction of a literary renovation44 of his epoch45 together with his actual judgments and reconstructions46. Now to the extent that he does this,[Pg 170] even if it be in the same book and on the same page or in the same period, he is no longer a critic, but a practical reformer of art. In one domain47 of history alone is this pacific accompaniment of interpretations49 and aspirations50 impossible—in the history of philosophy, because when, as here, there is a difference between historical interpretation48 and the tendency of the philosopher, the difference reveals the insufficiency of the interpretation itself: in other words, if the theory of the historian of philosophy is at war with the theories of which he claims to expound51 the history, his theory must be false, just because it does not avail to justify52 the history of the theories. But this exception does not annul53 the distinction in other fields; indeed, it confirms it, and is not an exception in the empirical sense, as it appears to be: thought distinguishes and is distinguished54 from sentiment and will, but it is not distinguished from itself, precisely55 because it is the principle of distinction. A methodological corollary of this distinction between history of historiography and history of practical tendencies is that the introduction into the first of considerations belonging to the second is to be held erroneous. Here I think Fueter has sinned to some extent in the book to which I have already referred, where he divides his material into humanistic, political, party, imperial, particularist, Protestant, Catholic, Jesuitic, illuministic, romanticist, erudite, lirico-subjective, national, statolatral, historiographical, and the like. Only some of the above divisions belong to, or can properly be reduced to, historiographical concepts, while the majority refer to social and political life. Hence the lack of sound organization that we observe in this book, which is yet so lively and ingenious: its divisions follow one another without sufficient logicality, continuity, and necessity,[Pg 171] and are not the result of a single thought which posits them and develops itself through them. If, on the other hand, the genuinely historiographical portions, which have become mingled56 with it, should be eliminated, what remained could certainly be organized, but as social and political history, no longer as historiography, because the works of historians would be consulted only as documents showing the tendencies of the times in which they were written. Machiavelli, for instance, (to use the same example) would there figure as an Italian patriot57 and defender58 of absolute power, while Vico (a much greater historian than Machiavelli) would not be able to appear at all, or hardly at all, because his relation with the political life of his time was remote and general.
What I have been expounding59 may be resumed by saying that the history of historiography is neither literary history nor the history of cultural, social, political, moral doings, which are of a practical nature, but that it is certainly all these things, by reason of the unbreakable unity60 of history, though with it the accent does not fall upon practical facts, but rather upon historiographical thought, which is its proper subject.
Having pointed61 out or recalled these distinctions, which, as we have seen, are sometimes neglected with evil results, we must now utter a warning against other distinctions, employed without rational basis, which rather overcloud and trouble the history of historiography than shed light upon it.
Fueter (I cite him again, although the error is not peculiar62 to him) declares that he has dealt in his book with historiographical theories and with historical method only in so far as they seem to have had influence upon actual historiography. The history of historicity (here[Pg 172] is the reason he gives for the method he has followed) is as little the history of historiography as is the history of dramatic theories the history of the drama. This he considers to be proved by the fact that theory and practice often follow different paths, as, for instance, in Lope de Vega, whose theory of the drama and actual dramatic work were two different things, to such an extent that it was said of the Spanish dramatist that although he reverenced63 the poetical64 art, when he sat down to compose "he locked up the correct rules under seven keys." This argument is without doubt specious65, and I was myself formerly66 seduced67 by it; but it is fallacious, as I realized when I thought it over again, and I now affirm it to be an error with all the conviction and authority of one who criticizes an error at one time his own. The argument is founded upon a false analogy between the production of art and that of history. Art, which is the work of the imagination, can be well distinguished from the theory of art, which is the work of reflection; artistic genius produces the former, the speculative68 intellect the latter, and it often happens with artists that the speculative intellect is inferior to their genius, so that they do one thing and say another, or say one thing and do another, without its being possible to accuse them of logical incoherence, because the incoherence is between two discordant69 thoughts, never between a thought and an act of the imagination. But history and theory of history are both of them works of thought, bound to one another in the same way as thought is bound to itself, since it is one. Thus no historian but possesses in a more or less reflective way his theory of history, because, not to put too fine a point upon it, every historian implicitly70 or explicitly71 conducts a polemic72 against other historians (against other 'versions'[Pg 173] and 'judgments' of a fact), and how could he ever conduct a polemic or criticize others if he did not himself possess a conception of what history is and ought to be, to which to refer, a theory of history? The artist, on the other hand, in so far as he is an artist, does not polemize or criticize, but forms. It may quite well happen that an erroneous theory of historiography is expounded73, while on the contrary the history as narrated74 may turn out to be well constructed. This is, of course, to be incoherent, but is so neither more nor less than when progress is effected in one branch of historiography, while there is backwardness in another. There may obtain, on the contrary, an excellent theory of history, where history itself is bad; but in the same way that in one field of historiography there is the sense of and striving for a better method, while there is adherence76 to old methods in all the other fields. The history of historiography is the history of historical thought; and here it is impossible to distinguish theory of history from history.
Another exclusion31 which Fueter declares that he has made is that of the philosophy of history. He does not give the reason for this, but allows it to be understood, for he evidently holds that philosophies of history do not possess a purely77 scientific character and are lacking in truth. But not only are what are called 'philosophies of history' erroneous conceptions of history, but so also are the naturalistic or deterministic conceptions opposed to them, and all the various forms of pseudo-history which have been described above, philological history, poetical history, rhetorical history. I do not find that he has excluded these from his history, any more than he has really excluded the theological and transcendental conception of history (philosophy of[Pg 174] history); indeed, he constantly refers to it. Justice and logic37 would insist upon all or none being excluded—all really excluded, and not merely in words. But to exclude all of them, it may be said, would be anything but intelligent, because how could the history of history ever be told in such a void? What is this history but the struggle of scientific historiography against inadequate78 scientific formulas? Certainly the former is the protagonist79, but how could a drama be presented with a protagonist lacking antagonists80? And even if historical philology be not considered directly, but referred back to philology, if poetical history be referred back to literature, rhetorical or practical to social and political history, it would nevertheless be necessary always to take account of the conversion81 that often occurs of those various mental constructions into assertions of reality, taken in exchange for and given the value of true and proper histories. In this sense they become in turn deterministic or transcendental conceptions of history, and both of them logical or illogical representations of all the others, and end by becoming equivalent to one another dialectically, and are always before the eyes of the historian, because the perpetual condition and the perpetual sign of the progress of historical thought reside in their movement, which passes from transcendency or false immanence to pure immanence, to return to them and enter into a more profound conception of immanency. To exclude philosophies of history from the history of historiography does not, therefore, seem to me to be justifiable82, for the same reason as it seems to be unjustifiable to exclude from it historiographical theories, which are the consciousness that historiography acquires of itself: owing to their homogeneity, I say, owing indeed to[Pg 175] their identity with history, of which they do not form accidental ingredients or material elements, but constitute the very essence. A proof of this is to be found in the Historical Philosophy of France of Flint. He proceeds from a presumption83 that is perhaps the opposite of that of Fueter—that is to say, he treats of the philosophy of history, and not of history, but finds it impossible to maintain the dykes84 between the two. His treatise11, therefore, when artificial obstacles have been overcome, runs like a single river and reveals to our view the whole history of historical French thought, to which Bossuet and Rollin, Condorcet and Voltaire, Auguste Comte and Michelet or Tocqueville equally belong.
At this point it will probably be objected (although Fueter does not propound85 this objection, it is probable that it is at the back of his mind) that what is desired in a history of historiography is not so much a history of historical thought as a history of history in the concrete: of the Storie fiorentine of Machiavelli, of the Siècle de Louis XIV of Voltaire, or of the R?mische Geschichte of Niebuhr: that would be a general history, while what is desired is a specific history. But it is well to pay close attention to the meaning of such a request and to the possibility of what is asked. If I set out to write the history of the Storie fiorentine of Machiavelli, in respect to the particular material with which it deals, I shall rewrite the history of Florence, criticizing and completing Machiavelli, and shall thus be, for instance, a Villari, a Davidsohn, or a Salvemini. If I set out to write the history of the material of Voltaire's work, I shall criticize Voltaire and outline a new Siècle de Louis XIV, as has been done, for example, by Philippson. And if I set to work to examine and[Pg 176] rethink the work of Niebuhr in respect to its particular material, I shall be a new historian of Rome, a Mommsen or (to quote the most recent writers) a Hector Pais or a Gaetano de Sanctis. But is this what is desired? Certainly not. But if this be not desired, if the particular materials of those histories are not to be taken account of, what else remains86 save the 'way' in which they have been conceived, the 'mental form' by means of which they construct their narratives87, and therefore their theory and their historical 'thought'?
Now, if this truth be admitted (and I do not see how it can be contested) it is not possible to reject an ulterior consequence which, although it is wont88 to arouse in some the sensation of a paradox89, does not do so in us, for we find it altogether in accordance with the conception of the identity of history with, philosophy that we have defended. Is a thought that is not thought conceivable? Is it permissible90 to distinguish between the thought of the historian and the thought of the philosopher? Are there perhaps two different thoughts in the world? To persist in maintaining that the thought of the historian thinks the fact and not the theory is prevented by the preceding admission, if by nothing else: that the historian always thinks at least both the theory of history and the historical fact. But this admission entails91 his thinking the theory of all the things that he narrates92, together with the theory of history. And indeed he could not narrate75 without understanding them. Fueter extols93 the merit of Winckelmann, who was the first to conceive a history, not of artists, but of art, of a pure spiritual activity, and that of Giannone, who was the first to attempt a history of the life of jurisprudence. But these writers made the progress they did because they[Pg 177] had a new and more accurate conception of art and of rights, and if they went wrong as to certain points, that is because they did not always think those conceptions with equal exactitude. Winckelmann, for instance, materialized the spiritual activity of the artist when he posited94 an abstract, fixed95 material ideal of beauty, and gave an abstract history of artistic styles without regard to the temperaments96, historical circumstances, and individualities of the artists themselves. Giannone failed to supersede97 the dualism of Church and State. Without indulging in other too particular examples, it is evident at the first glance that ancient historiography concords98 with the ancient conception of religion of the state, of ethic99, and of the whole of reality; the medieval with Christian100 theology and ethic; that of the first half of the nineteenth century with the idealistic and romantic philosophy, that of the second half with naturalistic and positivistic philosophy. Thus, ex parte historicorum, there is no way of distinguishing historical and philosophical14 thought, which are perfectly101 commingled102 in the narratives. But there is also no possibility of maintaining such a distinction ex parte philosophorum either, because, as all know, or at least say, each period has the philosophy proper to it, which is the consciousness of that period, and as such is its history, at least in germ; or, as we have put it, philosophy and history coincide. And if they coincide, the history of philosophy and the history of historiography also coincide: the one is not only not distinguishable from the other, but is not even subordinate to the other, for it is all one with it.
The historiography of philosophy has already begun to open its arms, inviting103 and receiving the works of the historians. Every day it understands better that a[Pg 178] history of Greek thought is not complete without taking count of Herodotus, Thucydides, and Polybius, nor of Roman thought without Livy and Tacitus, nor of the thought of the Renaissance without Machiavelli and Guicciardini. It must open them yet wider and clasp to its bosom104 even the humble105 medieval historiographers who noted106 the Gesta episcoporum or Historiol? translationum or Vit? sanctorum, or who bear witness to the Christian faith, according to their powers and in their own way, it is true, but not less than the great Augustine according to his powers. It must receive not only the hagiographical writers, but even obtuse107 philologists108 or sociologists who have amused us during the last decades and bear witness to the creed109 of positivism not other-wise than as Spencer or Haeckel in their systems. By means of this amplification110 of concepts and enrichment of material, the historiography of philosophy will place itself in the position of being able to show that philosophy is a force diffused111 throughout life, and not the particular invention and cult33 of certain men who are philosophers, and will obtain the means that have hitherto been lacking to effect a close conjunction with the whole historical movement.
In its turn the history of historiography will gain by the fusion7, because it will find its own directive principles in philosophy, and by its means will be rendered capable of understanding both the problems of history in general and those of its various aspects as history of art and of philosophy, of economic and moral life. To seek elsewhere the criterion of explanation is vain. Fueter, who takes a glance at the most recent historiography, that posterior to 1870, at the end of his book, discerns in it the new consciousness that gives the highest place to political and military[Pg 179] power and marks the end of the old liberalism, the strengthening of such consciousness by means of the Darwinian theories concerning the struggle for life, the influence of a more intense economical and industrial life and a greater intensity of world politics, the repercussion112 of Egyptian and Orientalistic discoveries, which have aided in disproving the illusion of Europe as the centre of the world, the attraction exercised by the theory of races, and so on. These observations are just, but they do not reach the heart and brain of the most recent historiography; they merely revolve113 round its body. The heart or brain is, as I have observed, naturalism, the ideal of historical culture inspired and to be inspired by the natural sciences. So true is this that Fueter himself burns a few grains of incense114 before this idol115, sighing for a form of history that shall be beautiful with the beauty of a well-made machine, rivalling a book on physics such as the Theory of Tones of Helmholtz. The truth is that the ideal of the natural sciences, instead of being the perfection, is one of the many crises that historical thought has passed through and will pass through. Historical thought is dialectic of development, and not by any means a deterministic explanation by means of causes which does not explain anything because it does not develop anything. But whatever we may think of this, it is certain that naturalism—that is, the criticism of naturalism—can alone supply the clue for unravelling116 the web of the historiography of the last ten years; the same events and historical movements enumerated117 above have acted in the particular way in which they have acted owing to being constantly framed in naturalistic thought.
For the rest, nothing forbids, and it may even serve a useful purpose, that the history of philosophy and the[Pg 180] history of historiography should receive literary treatment in different books, for altogether practical reasons, such, for instance, as the abundance of material and the different training and acquirements needed for the treatment of the different classes of material. But what is apparently118 disunited by practice thought really unifies119; and this real unification is what I have wished to inculcate, without the pedantic120 idea ever passing through my mind of dictating121 rules for composing books, as to which it is desirable to leave all liberty of inclusion and exclusion to writers, in conformity with their various intentions.
[1] Charakteristik der antiken Historiographie (Berlin, 1833).
[2] Geschichte der neueren Historiographie (München u. Berlin, Oldenburg, 1911).
[3] Geschichte der historischen Forschung und Kunst seit der Wiederherstellung der literarischen Cultur in Europa (G?ttingen, 1812-20).
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dealing
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| n.经商方法，待人态度 | |
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bibliographical
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| 书籍解题的，著书目录的 | |
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vigilant
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| adj.警觉的，警戒的，警惕的 | |
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dominion
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annotation
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conformity
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fusion
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| n.溶化；熔解；熔化状态，熔和；熔接 | |
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judgment
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illustrating
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| 给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明 | |
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treatises
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treatise
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| n.专著；(专题)论文 | |
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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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philosophically
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| adv.哲学上；富有哲理性地；贤明地；冷静地 | |
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philosophical
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| adj.哲学家的，哲学上的，达观的 | |
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compilation
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judgments
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| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
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censure
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| v./n.责备；非难；责难 | |
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esteem
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antiquity
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intensity
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lavished
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negligent
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verbosity
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coalesce
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renaissance
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exponent
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abstain
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laurels
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remarkable
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philology
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| n.语言学；语文学 | |
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exclusion
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exclusions
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cult
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proceedings
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entirely
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philological
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logic
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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posits
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41
portrays
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| v.画像( portray的第三人称单数 )；描述；描绘；描画 | |
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42
fable
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| n.寓言；童话；神话 | |
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43
solely
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| adv.仅仅，唯一地 | |
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44
renovation
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| n.革新，整修 | |
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45
epoch
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| n.(新)时代；历元 | |
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46
reconstructions
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| 重建( reconstruction的名词复数 )； 再现； 重建物； 复原物 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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interpretation
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| n.解释，说明，描述；艺术处理 | |
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49
interpretations
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| n.解释( interpretation的名词复数 )；表演；演绎；理解 | |
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50
aspirations
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| 强烈的愿望( aspiration的名词复数 )； 志向； 发送气音； 发 h 音 | |
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51
expound
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| v.详述；解释；阐述 | |
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52
justify
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| vt.证明…正当(或有理)，为…辩护 | |
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53
annul
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| v.宣告…无效，取消，废止 | |
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54
distinguished
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| adj.卓越的，杰出的，著名的 | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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56
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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57
patriot
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| n.爱国者，爱国主义者 | |
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58
defender
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| n.保卫者，拥护者，辩护人 | |
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59
expounding
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| 论述，详细讲解( expound的现在分词 ) | |
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unity
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| n.团结，联合，统一；和睦，协调 | |
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pointed
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| adj.尖的，直截了当的 | |
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62
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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reverenced
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| v.尊敬，崇敬( reverence的过去式和过去分词 )；敬礼 | |
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poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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specious
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| adj.似是而非的；adv.似是而非地 | |
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formerly
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| adv.从前，以前 | |
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seduced
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| 诱奸( seduce的过去式和过去分词 )； 勾引； 诱使堕落； 使入迷 | |
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speculative
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| adj.思索性的，暝想性的，推理的 | |
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discordant
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| adj.不调和的 | |
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implicitly
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| adv. 含蓄地, 暗中地, 毫不保留地 | |
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explicitly
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| ad.明确地，显然地 | |
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polemic
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| n.争论，论战 | |
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73
expounded
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| 论述，详细讲解( expound的过去式和过去分词 ) | |
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narrated
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| v.故事( narrate的过去式和过去分词 ) | |
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narrate
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| v.讲，叙述 | |
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adherence
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| n.信奉，依附，坚持，固着 | |
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purely
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| adv.纯粹地，完全地 | |
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inadequate
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| adj.(for,to)不充足的，不适当的 | |
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protagonist
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| n.(思想观念的)倡导者；主角，主人公 | |
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antagonists
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| 对立[对抗] 者，对手，敌手( antagonist的名词复数 )； 对抗肌； 对抗药 | |
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conversion
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| n.转化，转换，转变 | |
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82
justifiable
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| adj.有理由的，无可非议的 | |
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presumption
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| n.推测，可能性，冒昧，放肆，[法律]推定 | |
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dykes
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| abbr.diagonal wire cutters 斜线切割机n.堤( dyke的名词复数 )；坝；堰；沟 | |
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propound
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| v.提出 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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narratives
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| 记叙文( narrative的名词复数 )； 故事； 叙述； 叙述部分 | |
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wont
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| adj.习惯于；v.习惯；n.习惯 | |
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paradox
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| n.似乎矛盾却正确的说法；自相矛盾的人(物) | |
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permissible
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| adj.可允许的，许可的 | |
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entails
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| 使…成为必要( entail的第三人称单数 )； 需要； 限定继承； 使必需 | |
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narrates
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| v.故事( narrate的第三人称单数 ) | |
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extols
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| v.赞颂，赞扬，赞美( extol的第三人称单数 ) | |
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posited
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| v.假定，设想，假设( posit的过去式和过去分词 ) | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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temperaments
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| 性格( temperament的名词复数 )； （人或动物的）气质； 易冲动； （性情）暴躁 | |
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supersede
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| v.替代；充任 | |
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98
concords
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| n.和谐，一致，和睦( concord的名词复数 ) | |
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99
ethic
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| n.道德标准，行为准则 | |
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100
Christian
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| adj.基督教徒的；n.基督教徒 | |
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101
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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102
commingled
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| v.混合，掺和，合并( commingle的过去式和过去分词 ) | |
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103
inviting
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| adj.诱人的，引人注目的 | |
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104
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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105
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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106
noted
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| adj.著名的，知名的 | |
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107
obtuse
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| adj.钝的；愚钝的 | |
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108
philologists
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| n.语文学( philology的名词复数 ) | |
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109
creed
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| n.信条；信念，纲领 | |
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110
amplification
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| n.扩大，发挥 | |
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111
diffused
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| 散布的，普及的，扩散的 | |
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112
repercussion
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| n.[常pl.](不良的)影响，反响，后果 | |
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113
revolve
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| vi.(使)旋转；循环出现 | |
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114
incense
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| v.激怒；n.香，焚香时的烟，香气 | |
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115
idol
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| n.偶像，红人，宠儿 | |
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116
unravelling
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| 解开，拆散，散开( unravel的现在分词 )； 阐明； 澄清； 弄清楚 | |
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117
enumerated
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| v.列举，枚举，数( enumerate的过去式和过去分词 ) | |
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118
apparently
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| adv.显然地；表面上，似乎 | |
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119
unifies
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| 使联合( unify的第三人称单数 )； 使相同； 使一致； 统一 | |
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120
pedantic
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| adj.卖弄学问的；迂腐的 | |
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121
dictating
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| v.大声讲或读( dictate的现在分词 )；口授；支配；摆布 | |
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