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DO WRITERS WRITE TOO MUCH?
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On a newspaper placard, the other day, I saw announced a new novel by a celebrated1 author. I bought a copy of the paper, and turned eagerly to the last page. I was disappointed to find that I had missed the first six chapters. The story had commenced the previous Saturday; this was Friday. I say I was disappointed and so I was, at first. But my disappointment did not last long. The bright and intelligent sub-editor, according to the custom now in vogue2, had provided me with a short synopsis3 of those first six chapters, so that without the trouble of reading them I knew what they were all about.
“The first instalment,” I learned, “introduces the reader to a brilliant and distinguished4 company, assembled in the drawing-room of Lady Mary’s maisonette in Park Street. Much smart talk is indulged in.”
I know that “smart talk” so well. Had I not been lucky enough to miss that first chapter I should have had to listen to it once again. Possibly, here and there, it might have been new to me, but it would have read, I know, so very like the old. A dear, sweet white-haired lady of my acquaintance is never surprised at anything that happens.
“Something very much of the same kind occurred,” she will remember, “one winter when we were staying in Brighton. Only on that occasion the man’s name, I think, was Robinson.”
We do not live new stories—nor write them either. The man’s name in the old story was Robinson, we alter it to Jones. It happened, in the old forgotten tale, at Brighton, in the winter time; we change it to Eastbourne, in the spring. It is new and original—to those who have not heard “something very like it” once before.
“Much smart talk is indulged in,” so the sub-editor has explained. There is absolutely no need to ask for more than that. There is a Duchess who says improper6 things. Once she used to shock me. But I know her now. She is really a nice woman; she doesn’t mean them. And when the heroine is in trouble, towards the middle of the book, she is just as amusing on the side of
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收听单词发音

1
celebrated
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adj.有名的,声誉卓著的 | |
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2
Vogue
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n.时髦,时尚;adj.流行的 | |
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synopsis
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n.提要,梗概 | |
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distinguished
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adj.卓越的,杰出的,著名的 | |
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quaint
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adj.古雅的,离奇有趣的,奇怪的 | |
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improper
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adj.不适当的,不合适的,不正确的,不合礼仪的 | |
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virtue
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n.德行,美德;贞操;优点;功效,效力 | |
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apparently
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adv.显然地;表面上,似乎 | |
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virtuous
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adj.有品德的,善良的,贞洁的,有效力的 | |
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10
jots
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v.匆忙记下( jot的第三人称单数 );草草记下,匆匆记下 | |
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painstaking
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adj.苦干的;艰苦的,费力的,刻苦的 | |
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chatter
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vi./n.喋喋不休;短促尖叫;(牙齿)打战 | |
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lamented
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adj.被哀悼的,令人遗憾的v.(为…)哀悼,痛哭,悲伤( lament的过去式和过去分词 ) | |
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possessed
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adj.疯狂的;拥有的,占有的 | |
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elusive
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adj.难以表达(捉摸)的;令人困惑的;逃避的 | |
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dispensed
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v.分配( dispense的过去式和过去分词 );施与;配(药) | |
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illuminating
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a.富于启发性的,有助阐明的 | |
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solitude
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n. 孤独; 独居,荒僻之地,幽静的地方 | |
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formerly
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adv.从前,以前 | |
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sketch
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n.草图;梗概;素描;v.素描;概述 | |
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exquisite
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adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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peculiar
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adj.古怪的,异常的;特殊的,特有的 | |
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odds
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n.让步,机率,可能性,比率;胜败优劣之别 | |
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mischief
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n.损害,伤害,危害;恶作剧,捣蛋,胡闹 | |
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assorted
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adj.各种各样的,各色俱备的 | |
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precisely
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adv.恰好,正好,精确地,细致地 | |
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permissible
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adj.可允许的,许可的 | |
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piquancy
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n.辛辣,辣味,痛快 | |
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complexion
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n.肤色;情况,局面;气质,性格 | |
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conscientious
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adj.审慎正直的,认真的,本着良心的 | |
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scent
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n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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homely
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adj.家常的,简朴的;不漂亮的 | |
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contrived
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adj.不自然的,做作的;虚构的 | |
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penetrating
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adj.(声音)响亮的,尖锐的adj.(气味)刺激的adj.(思想)敏锐的,有洞察力的 | |
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fragrance
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n.芬芳,香味,香气 | |
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nuance
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n.(意义、意见、颜色)细微差别 | |
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bind
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vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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delightful
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adj.令人高兴的,使人快乐的 | |
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vividly
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adv.清楚地,鲜明地,生动地 | |
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positively
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adv.明确地,断然,坚决地;实在,确实 | |
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glistening
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adj.闪耀的,反光的v.湿物闪耀,闪亮( glisten的现在分词 ) | |
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alluring
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adj.吸引人的,迷人的 | |
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oar
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n.桨,橹,划手;v.划行 | |
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gratitude
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adj.感激,感谢 | |
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twilight
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n.暮光,黄昏;暮年,晚期,衰落时期 | |
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moor
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n.荒野,沼泽;vt.(使)停泊;vi.停泊 | |
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gateway
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n.大门口,出入口,途径,方法 | |
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wade
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v.跋涉,涉水;n.跋涉 | |
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genre
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n.(文学、艺术等的)类型,体裁,风格 | |
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spun
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v.纺,杜撰,急转身 | |
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longings
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渴望,盼望( longing的名词复数 ) | |
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margin
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n.页边空白;差额;余地,余裕;边,边缘 | |
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upwards
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adv.向上,在更高处...以上 | |
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serial
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n.连本影片,连本电视节目;adj.连续的 | |
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