"Have you got your latchkey?" she asked, turning round on George. "Father's not come home—his hat's not hanging up. He promised me certain that he would be here at six-thirty at the latest. Otherwise I should have taken the big key."
She did not show resentment2 against her father; nor was there impatience3 in her voice. But she seemed to be firmly and impassively judging her father, as his equal, possibly even as somewhat his superior. And George admired the force of her individuality. It flattered him that a being so independent and so strong should have been so meltingly responsive to him in the cathedral.
An adventurous4 idea occurred to him in a flash and he impulsively5 adopted it. His latchkey was in his pocket, but if the house door was once opened he would lose her—he would have to go forth6 and seek his dinner and she would remain in the house; whereas, barred out of the house, she would be bound to him—they would be thrust together into exquisite7 contingencies8, into all the deep potentialities of dark London.
"Dash it!" he said, first fumbling9 in one waistcoat pocket, and then ledging the portfolio10 against a step and fumbling in both waistcoat pockets simultaneously11. "I must have left it in my other clothes."
It is doubtful whether his conscience troubled him. But he had a very exciting sense of risk and of romance and of rapture12, as though he had done something wonderful and irremediable.
"Ah! Well!" she murmured, instantly acquiescent13, and without the least hesitation14 descended15 the steps.
How many girls (he demanded) would or could have made up their minds and faced the situation like that? Her faculty16 of decision was simply masculine! He looked at her in the twilight18 and she was inimitable, unparalleled. And yet by virtue19 of the wet glistening20 of her eyes in the cathedral she had somehow become mystically his! He. permitted himself the suspicion: "Perhaps she guesses that I'm only pretending about the latchkey." The suspicion which made her an accessory to his crime did not lower her in his eyes. On the contrary, the enchanting21 naughtiness with which it invested her only made her variety more intoxicant and perfection more perfect. His regret was that the suspicion was not a certainty.
Before a word could be said as to the next move, a figure in a grey suit and silk hat, and both arms filled with packages, passed in front of the gate and then halted.
"Oh! It's Mr. Buckingham Smith!" exclaimed Marguerite. "Mr. Buckingham Smith, we're locked out till father comes." She completed the tale of the mishap23, to George's equal surprise and mortification24.
Mr. Buckingham Smith, with Mr. Alfred Prince, was tenant25 of the studio at the back of No. 8. He raised his hat as well as an occupied arm would allow.
"Come and wait in the studio, then," he suggested bluntly.
George and Mr. Buckingham Smith had in fact been introduced to one another weeks earlier in the Grove by Mr. Haim. Thereafter Mr. Buckingham Smith had, as George imagined, saluted27 George with a kind of jealous defiance28 and mistrust, and the acquaintance had not progressed. Nor, by the way, had George's dreams been realized of entering deeply into the artistic29 life of Chelsea. Chelsea had been no more welcoming than Mr. Buckingham Smith. But now Mr. Buckingham Smith grew affable and neighbourly. Behind the man's inevitable30 insistence31 that George should accompany Miss Haim into the studio was a genuine, eager hospitality.
The studio was lofty and large, occupying most of the garden space of No. 8. Crimson32 rep curtains, hung on a thick, blackened brass33 rod, divided it into two unequal parts. By the wall nearest the house a staircase ran up to a door high in the gable, which door communicated by a covered bridge with the second floor of No. 8, where the artists had bedrooms. The arrangement was a characteristic example of the manner in which building was added to building in London contrary to the intention of the original laying-out, and George in his expert capacity wondered how the plans had been kept within the by-laws of the borough34, and by what chicane the consent of the ground-landlord had been obtained.
Mr. Alfred Prince, whom also George knew slightly, was trimming a huge oil-lamp which depended by a wire from the scarcely visible apex35 of the roof. When at length the natural perversity36 of the lamp had been mastered and the metal shade replaced, George got a general view of the immense and complex disorder37 of the studio. It was obviously very dirty—even in the lamplight the dust could be seen in drifts on the moveless folds of the curtains—it was a pigsty38; but it was romantic with shadowed spaces, and gleams of copper39 and of the pale arms of the etching-press, and glimpses of pictures; and the fellow desired a studio of his own! He was glad, now, that Mr. Buckingham Smith had invited them in. He had wanted to keep Marguerite Haim to himself; but it was worth while to visit the studio, and it was especially worth while to watch her under the illumination of the lamp.
"Lucky we have a clean tablecloth40," said Mr. Buckingham Smith, opening his packages and setting a table. "Brawn41, Miss Haim! And beer, Miss Haim! That is to say, Pilsener. From the only place in Chelsea where you can get it."
And his packages really did contain brawn and beer (four bottles of the Pilsener); also bread and a slice of butter. The visitors learnt that they had happened on a feast, a feast which Mr. Buckingham Smith had conceived and ordained42, a feast to celebrate the triumph of Mr. Alfred Prince. An etching by Mr. Prince had been bought by Vienna. Mr. Buckingham Smith did not say that the etching had been bought by any particular gallery in Vienna. He said 'by Vienna,' giving the idea that all Vienna, every man, woman, and child in that distant and enlightened city where etchings were truly understood, had combined for the possession of a work by Mr. Prince. Mr. Buckingham Smith opined that soon every gallery in Europe would be purchasing examples of Alfred Prince. He snatched from a side-table and showed the identical authentic43 letter from Vienna to Mr. Alfred Prince, with its official heading, foreign calligraphy44, and stilted45 English. The letter was very complimentary46.
In George's estimation Mr. Prince did not look the part of an etcher of continental47 renown48. He was a small, pale man, with a small brown beard, very shabby, and he was full of small nervous gestures. He had the innocently-red nose which pertains49 to indigestion. His trousers bagged horribly at the knees, and he wore indescribable slippers50. He said little, in an extremely quiet, weak voice. His eyes, however, were lively and attractive. He was old, probably at least thirty-five. Mr. Buckingham Smith made a marked contrast to him. Tall, with newish clothes, a powerful voice and decisive gestures, Mr. Buckingham Smith dominated, though he was younger than his friend. He tried to please, and he mingled51 the grand seigneurial style with the abrupt52. It was he who played both the parlourmaid and the host. He forced Marguerite to have some brawn, serving her with a vast portion; but he could not force her to take Pilsener.
"Now, Mr. Cannon," he said, pouring beer into a glass with an up-and-down motion of the bottle so as to put a sparkling head on the beer.
"No, thank you," said George decidedly. "I won't have beer."
Mr. Buckingham Smith gazed at him challengingly out of his black eyes. "Oh! But you've got to," he said. It was as if he had said: "I am generous. I love to be hospitable53, but I am not going to have my hospitality thwarted54, and you needn't think it."
George accepted the beer and joined in the toasting of Mr. Alfred Prince's health.
"Old chap!" Mr. Buckingham Smith greeted his chum, and then to George and Marguerite, informingly and seriously: "One of the best."
It was during the snack that Mr. Buckingham Smith began to display the etchings of Mr. Alfred Prince, massed in a portfolio. He extolled55 them with his mouth half-full of brawn, or between two gulps56 of Pilsener. They impressed George deeply—they were so rich and dark and austere57.
"Old Princey boy's one of the finest etchers in Europe to-day, if you ask me," said Mr. Buckingham Smith off-handedly, and with the air of stating the obvious. And George thought that Mr. Prince was. The etchings were not signed 'Alfred Prince,' but just 'Prince,' which was quietly imposing58. Everybody agreed that Vienna had chosen the best one.
"It's a dry-point, isn't it?" Marguerite asked, peering into it. George started. This single remark convinced him that she knew all about etching, whereas he himself knew nothing. He did not even know exactly what a dry-point was.
George perceived that etching was an entrancing subject, and he determined60 to learn something about it—everything about it.
Then came the turn of Mr. Buckingham Smith's paintings. These were not signed 'Smith' as the etchings were signed 'Prince.' By no means! They were signed 'Buckingham Smith.' George much admired them, though less than he admired the etchings. They were very striking and ingenious, in particular the portraits and the still-life subjects. He had to admit that these fellows to whom he had scarcely given a thought, these fellows who existed darkly behind the house, were prodigiously61 accomplished62.
"Of course," said Mr. Buckingham Smith negligently63, "you can't get any idea of them by this light—though," he added warningly, "it's the finest artificial light going. Better than all your electricity."
There was a pause, and Mr. Prince sighed and said:
George took fire at once. "The Glazounov ballet music?"
"Glazounov?" repeated Mr. Prince uncertainly. "No. I rather wanted to hear the new Elgar."
George was disappointed, for he had derived65 from Mr. Enwright positive opinions about the relative importance of Elgar and Glazounov.
"Go often?" he asked.
"No," said Mr. Prince. "I haven't been this season yet, but I'm always meaning to." He smiled apologetically. "And I thought to-night——" Despite appearances, he was not indifferent after all to his great Viennese triumph; he had had some mild notion of his own of celebrating the affair.
"I suppose this is what etchings are printed with," said George to Mr. Buckingham Smith, for the sake of conversation, and he moved towards the press. The reception given to the wonderful name of Glazounov in that studio was more than a disappointment for George; he felt obscurely that it amounted to a snub.
Mr. Buckingham Smith instantly became the urbane66 and alert showman. He explained how the pressure was regulated. He pulled the capstan-like arms of the motive67 wheel and the blanketed steel bed slid smoothly68 under the glittering cylinder69. Although George had often been in his stepfather's printing works he now felt for the first time the fascination70 of manual work, of artisanship, in art, and he regretted that the architect had no such labour. He could indistinctly hear Mr. Prince talking to Marguerite.
"This is a monotype," said Mr. Buckingham Smith, picking up a dusty print off the window-sill. "I do one occasionally."
"Did you do this?" asked George, who had no idea what a monotype was and dared not inquire.
"Yes. They're rather amusing to do. You just use a match or your finger or anything."
"It's jolly good," said George. "D'you know, it reminds me a bit of Cézanne."
Of course it was in Paris that he had heard of the great original, the martyr71 and saviour72 of modern painting. Equally of course it was Mr. Enwright who had inducted him into the esoteric cult17 of Cézanne, and magically made him see marvels73 in what at the first view had struck him as a wilful74 and clumsy absurdity75.
"Oh!" murmured Buck, stiffening76.
"What do you think of Cézanne?"
"Rule it out!" said Buck, with a warning cantankerous77 inflection, firmly and almost brutally78 reproving this conversational79 delinquency of George's. "Rule it out, young man! We don't want any of that sort of mountebanking in England. We know what it's worth."
George was cowed. More, his faith in Cézanne was shaken. He smiled sheepishly and was angry with himself. Then he heard Mr. Prince saying calmly and easily to Miss Haim—the little old man could not in fact be so nervous as he seemed:
"I suppose you wouldn't come with me to the Prom?"
George was staggered and indignant. It was inconceivable, monstrous80, that those two should be on such terms as would warrant Mr. Prince's astounding81 proposal. He felt that he simply could not endure them marching off together for the evening. Her acceptance of the proposal would be an outrage82. He trembled. However, she declined, and he was lifted from the rack.
"I must really go," she said. "Father's sure to be home by now."
"May I?" demanded Mr. Buckingham Smith, stooping over Marguerite's portfolio of designs, and glancing round at her for permission to open it. Already his hand was on the tape.
"On no account!" she cried. "No! No!... Mr. Cannon, please take it from him!" She was serious.
After a decent interval84 George took the portfolio under his arm. Marguerite was giving thanks for hospitality. They left. George was singularly uplifted by the fact that she never concealed85 from him those designs upon which Mr. Buckingham Smith had not been allowed to gaze. And, certain contretemps and disappointments notwithstanding, he was impressed by the entity86 of the studio. It had made a desirable picture in his mind: the romantic paraphernalia87, the etchings, the canvases, the lights and shadows, the informality, the warm odours of the lamp and of the Pilsener, the dazzling white of the tablecloth, the quick, positive tones of Buckingham Smith, who had always to be convincing not only others but himself that he was a strong man whose views were unassailable, the eyes of Buckingham Smith like black holes in his handsome face, the stylish88 gestures and coarse petulance89 of Buckingham Smith, the shy assurance of little old Prince. He envied the pair. Their existence had a cloistral90 quality which appealed to something in him. They were continually in the studio, morning, afternoon, evening. They were independent. They had not to go forth to catch omnibuses and trains, to sit in offices, to utilize91 the services of clerks, to take orders, to consider the idiosyncrasies of superiors. They were self-contained, they were consecrated92, and they were free. No open competitions for them! No struggles with committees and with contractors93! And no waiting for the realization94 of an idea! They sat down and worked, and the idea came at once to life, complete, without the necessity of other human co-operation! They did not sit in front of a painting or etching and say, as architects had too often to say in front of their designs: "That is wasted! That will never come into being." Architecture might be the art of arts, and indeed it was, but there were terrible drawbacks to it....
And next he was outside in the dark with Marguerite Haim, and new, intensified95 sensations thrilled him. She was very marvellous in the dark.
Mr. Haim had not returned.
"Well!" she muttered; and then dreamily: "What a funny little man Mr. Prince is, isn't he?" She spoke96 condescendingly.
"Anyhow," said George, who had been respecting Mr. Alfred Prince, "anyhow, I'm glad you didn't go to the concert with him."
"Why?" she asked, with apparent simplicity97. "I adore the Proms. Don't you?"
"Let's go, then," he suggested. "We shan't be very late, and what else is there for you to do?"
His audacity98 frightened him. There she stood with him in the porch, silent, reflective. She would never go. For sundry99 practical and other reasons she would refuse. She must refuse.
"I'll go," she said, as if announcing a well-meditated decision. He could scarcely believe it. This could not be London that he was in.
They deposited the portfolio under the mat in the porch.
点击
收听单词发音
收听单词发音 |
1
grove
|
|
| n.林子，小树林，园林 | |
参考例句： |
|
|
|
|
2
resentment
|
|
| n.怨愤，忿恨 | |
参考例句： |
|
|
|
|
3
impatience
|
|
| n.不耐烦，急躁 | |
参考例句： |
|
|
|
|
4
adventurous
|
|
| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
参考例句： |
|
|
|
|
5
impulsively
|
|
| adv.冲动地 | |
参考例句： |
|
|
|
|
6
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
7
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
8
contingencies
|
|
| n.偶然发生的事故，意外事故( contingency的名词复数 )；以备万一 | |
参考例句： |
|
|
|
|
9
fumbling
|
|
| n. 摸索,漏接 v. 摸索,摸弄,笨拙的处理 | |
参考例句： |
|
|
|
|
10
portfolio
|
|
| n.公事包；文件夹；大臣及部长职位 | |
参考例句： |
|
|
|
|
11
simultaneously
|
|
| adv.同时发生地，同时进行地 | |
参考例句： |
|
|
|
|
12
rapture
|
|
| n.狂喜；全神贯注；着迷；v.使狂喜 | |
参考例句： |
|
|
|
|
13
acquiescent
|
|
| adj.默许的，默认的 | |
参考例句： |
|
|
|
|
14
hesitation
|
|
| n.犹豫，踌躇 | |
参考例句： |
|
|
|
|
15
descended
|
|
| a.为...后裔的，出身于...的 | |
参考例句： |
|
|
|
|
16
faculty
|
|
| n.才能；学院，系；(学院或系的)全体教学人员 | |
参考例句： |
|
|
|
|
17
cult
|
|
| n.异教，邪教；时尚，狂热的崇拜 | |
参考例句： |
|
|
|
|
18
twilight
|
|
| n.暮光，黄昏；暮年，晚期，衰落时期 | |
参考例句： |
|
|
|
|
19
virtue
|
|
| n.德行，美德；贞操；优点；功效，效力 | |
参考例句： |
|
|
|
|
20
glistening
|
|
| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
参考例句： |
|
|
|
|
21
enchanting
|
|
| a.讨人喜欢的 | |
参考例句： |
|
|
|
|
22
buck
|
|
| n.雄鹿，雄兔；v.马离地跳跃 | |
参考例句： |
|
|
|
|
23
mishap
|
|
| n.不幸的事，不幸；灾祸 | |
参考例句： |
|
|
|
|
24
mortification
|
|
| n.耻辱，屈辱 | |
参考例句： |
|
|
|
|
25
tenant
|
|
| n.承租人；房客；佃户；v.租借，租用 | |
参考例句： |
|
|
|
|
26
cannon
|
|
| n.大炮，火炮；飞机上的机关炮 | |
参考例句： |
|
|
|
|
27
saluted
|
|
| v.欢迎，致敬( salute的过去式和过去分词 )；赞扬，赞颂 | |
参考例句： |
|
|
|
|
28
defiance
|
|
| n.挑战，挑衅，蔑视，违抗 | |
参考例句： |
|
|
|
|
29
artistic
|
|
| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
参考例句： |
|
|
|
|
30
inevitable
|
|
| adj.不可避免的，必然发生的 | |
参考例句： |
|
|
|
|
31
insistence
|
|
| n.坚持；强调；坚决主张 | |
参考例句： |
|
|
|
|
32
crimson
|
|
| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
参考例句： |
|
|
|
|
33
brass
|
|
| n.黄铜；黄铜器，铜管乐器 | |
参考例句： |
|
|
|
|
34
borough
|
|
| n.享有自治权的市镇；(英)自治市镇 | |
参考例句： |
|
|
|
|
35
apex
|
|
| n.顶点，最高点 | |
参考例句： |
|
|
|
|
36
perversity
|
|
| n.任性；刚愎自用 | |
参考例句： |
|
|
|
|
37
disorder
|
|
| n.紊乱，混乱；骚动，骚乱；疾病，失调 | |
参考例句： |
|
|
|
|
38
pigsty
|
|
| n.猪圈，脏房间 | |
参考例句： |
|
|
|
|
39
copper
|
|
| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
参考例句： |
|
|
|
|
40
tablecloth
|
|
| n.桌布，台布 | |
参考例句： |
|
|
|
|
41
brawn
|
|
| n.体力 | |
参考例句： |
|
|
|
|
42
ordained
|
|
| v.任命（某人）为牧师( ordain的过去式和过去分词 )；授予（某人）圣职；（上帝、法律等）命令；判定 | |
参考例句： |
|
|
|
|
43
authentic
|
|
| a.真的，真正的；可靠的，可信的，有根据的 | |
参考例句： |
|
|
|
|
44
calligraphy
|
|
| n.书法 | |
参考例句： |
|
|
|
|
45
stilted
|
|
| adj.虚饰的；夸张的 | |
参考例句： |
|
|
|
|
46
complimentary
|
|
| adj.赠送的，免费的，赞美的，恭维的 | |
参考例句： |
|
|
|
|
47
continental
|
|
| adj.大陆的，大陆性的，欧洲大陆的 | |
参考例句： |
|
|
|
|
48
renown
|
|
| n.声誉，名望 | |
参考例句： |
|
|
|
|
49
pertains
|
|
| 关于( pertain的第三人称单数 )； 有关； 存在； 适用 | |
参考例句： |
|
|
|
|
50
slippers
|
|
| n. 拖鞋 | |
参考例句： |
|
|
|
|
51
mingled
|
|
| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
参考例句： |
|
|
|
|
52
abrupt
|
|
| adj.突然的，意外的；唐突的，鲁莽的 | |
参考例句： |
|
|
|
|
53
hospitable
|
|
| adj.好客的；宽容的；有利的，适宜的 | |
参考例句： |
|
|
|
|
54
thwarted
|
|
| 阻挠( thwart的过去式和过去分词 )； 使受挫折； 挫败； 横过 | |
参考例句： |
|
|
|
|
55
extolled
|
|
| v.赞颂，赞扬，赞美( extol的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
56
gulps
|
|
| n.一大口（尤指液体）( gulp的名词复数 )v.狼吞虎咽地吃，吞咽( gulp的第三人称单数 )；大口地吸（气）；哽住 | |
参考例句： |
|
|
|
|
57
austere
|
|
| adj.艰苦的；朴素的，朴实无华的；严峻的 | |
参考例句： |
|
|
|
|
58
imposing
|
|
| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
参考例句： |
|
|
|
|
59
peculiar
|
|
| adj.古怪的，异常的；特殊的，特有的 | |
参考例句： |
|
|
|
|
60
determined
|
|
| adj.坚定的；有决心的 | |
参考例句： |
|
|
|
|
61
prodigiously
|
|
| adv.异常地，惊人地，巨大地 | |
参考例句： |
|
|
|
|
62
accomplished
|
|
| adj.有才艺的；有造诣的；达到了的 | |
参考例句： |
|
|
|
|
63
negligently
|
|
参考例句： |
|
|
|
|
64
promenades
|
|
| n.人行道( promenade的名词复数 )；散步场所；闲逛v.兜风( promenade的第三人称单数 ) | |
参考例句： |
|
|
|
|
65
derived
|
|
| 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 | |
参考例句： |
|
|
|
|
66
urbane
|
|
| adj.温文尔雅的，懂礼的 | |
参考例句： |
|
|
|
|
67
motive
|
|
| n.动机，目的；adv.发动的，运动的 | |
参考例句： |
|
|
|
|
68
smoothly
|
|
| adv.平滑地，顺利地，流利地，流畅地 | |
参考例句： |
|
|
|
|
69
cylinder
|
|
| n.圆筒，柱(面)，汽缸 | |
参考例句： |
|
|
|
|
70
fascination
|
|
| n.令人着迷的事物，魅力，迷恋 | |
参考例句： |
|
|
|
|
71
martyr
|
|
| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
参考例句： |
|
|
|
|
72
saviour
|
|
| n.拯救者，救星 | |
参考例句： |
|
|
|
|
73
marvels
|
|
| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
参考例句： |
|
|
|
|
74
wilful
|
|
| adj.任性的，故意的 | |
参考例句： |
|
|
|
|
75
absurdity
|
|
| n.荒谬，愚蠢；谬论 | |
参考例句： |
|
|
|
|
76
stiffening
|
|
| n. (使衣服等)变硬的材料, 硬化 动词stiffen的现在分词形式 | |
参考例句： |
|
|
|
|
77
cantankerous
|
|
| adj.爱争吵的，脾气不好的 | |
参考例句： |
|
|
|
|
78
brutally
|
|
| adv.残忍地，野蛮地，冷酷无情地 | |
参考例句： |
|
|
|
|
79
conversational
|
|
| adj.对话的，会话的 | |
参考例句： |
|
|
|
|
80
monstrous
|
|
| adj.巨大的；恐怖的；可耻的，丢脸的 | |
参考例句： |
|
|
|
|
81
astounding
|
|
| adj.使人震惊的vt.使震惊，使大吃一惊astound的现在分词) | |
参考例句： |
|
|
|
|
82
outrage
|
|
| n.暴行，侮辱，愤怒；vt.凌辱，激怒 | |
参考例句： |
|
|
|
|
83
erect
|
|
| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
参考例句： |
|
|
|
|
84
interval
|
|
| n.间隔，间距；幕间休息，中场休息 | |
参考例句： |
|
|
|
|
85
concealed
|
|
| a.隐藏的，隐蔽的 | |
参考例句： |
|
|
|
|
86
entity
|
|
| n.实体，独立存在体，实际存在物 | |
参考例句： |
|
|
|
|
87
paraphernalia
|
|
| n.装备；随身用品 | |
参考例句： |
|
|
|
|
88
stylish
|
|
| adj.流行的，时髦的；漂亮的，气派的 | |
参考例句： |
|
|
|
|
89
petulance
|
|
| n.发脾气，生气，易怒，暴躁，性急 | |
参考例句： |
|
|
|
|
90
cloistral
|
|
| adj.修道院的，隐居的，孤独的 | |
参考例句： |
|
|
|
|
91
utilize
|
|
| vt.使用，利用 | |
参考例句： |
|
|
|
|
92
consecrated
|
|
| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
参考例句： |
|
|
|
|
93
contractors
|
|
| n.（建筑、监造中的）承包人( contractor的名词复数 ) | |
参考例句： |
|
|
|
|
94
realization
|
|
| n.实现；认识到，深刻了解 | |
参考例句： |
|
|
|
|
95
intensified
|
|
| v.（使）增强， （使）加剧( intensify的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
96
spoke
|
|
| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
参考例句： |
|
|
|
|
97
simplicity
|
|
| n.简单，简易；朴素；直率，单纯 | |
参考例句： |
|
|
|
|
98
audacity
|
|
| n.大胆，卤莽，无礼 | |
参考例句： |
|
|
|
|
99
sundry
|
|
| adj.各式各样的，种种的 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |