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chapter 29 Goldoni, Manzoni, D’azeglio
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However, this poem only shared the fate of nearly, all the others that I wrote at this time; they came back to me with unfailing regularity1 from all the magazine editors of the English-speaking world; I had no success with any of them till I sent Mr. Lowell a paper on recent Italian comedy for the North American Review, which he and Professor Norton had then begun to edit. I was in the mean time printing the material of Venetian Life and the Italian Journeys in a Boston newspaper after its rejection2 by the magazines; and my literary life, almost without my willing it, had taken the course of critical observance of books and men in their actuality.
That is to say, I was studying manners, in the elder sense of the word, wherever I could get at them in the frank life of the people about me, and in such literature of Italy as was then modern. In this pursuit I made a discovery that greatly interested me, and that specialized3 my inquiries4. I found that the Italians had no novels which treated of their contemporary life; that they had no modern fiction but the historical romance. I found that if I wished to know their life from their literature I must go to their drama, which was even then endeavoring to give their stage a faithful picture of their civilization. There was even then in the new circumstance of a people just liberated5 from every variety of intellectual repression6 and political oppression, a group of dramatic authors, whose plays were not only delightful7 to see but delightful to read, working in the good tradition of one of the greatest realists who has ever lived, and producing a drama of vital strength and charm. One of them, whom I by no means thought the best, has given us a play, known to all the world, which I am almost ready to think with Zola is the greatest play of modern times; or if it is not so, I should be puzzled to name the modern drama that surpasses “La Morte Civile” of Paolo Giacometti. I learned to know all the dramatists pretty well, in the whole range of their work, on the stage and in the closet, and I learned to know still better, and to love
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1
regularity
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| n.规律性,规则性;匀称,整齐 | |
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rejection
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| n.拒绝,被拒,抛弃,被弃 | |
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specialized
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| adj.专门的,专业化的 | |
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inquiries
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| n.调查( inquiry的名词复数 );疑问;探究;打听 | |
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liberated
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| a.无拘束的,放纵的 | |
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repression
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| n.镇压,抑制,抑压 | |
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delightful
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| adj.令人高兴的,使人快乐的 | |
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supremely
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| adv.无上地,崇高地 | |
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amiable
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| adj.和蔼可亲的,友善的,亲切的 | |
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antedating
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| v.(在历史上)比…为早( antedate的现在分词 );先于;早于;(在信、支票等上)填写比实际日期早的日期 | |
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lastingly
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| [医]有残留性,持久地,耐久地 | |
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memoirs
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| n.回忆录;回忆录传( mem,自oir的名词复数) | |
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fully
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| adv.完全地,全部地,彻底地;充分地 | |
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autobiography
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| n.自传 | |
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ethical
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| adj.伦理的,道德的,合乎道德的 | |
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aesthetic
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| adj.美学的,审美的,有美感 | |
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recur
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| vi.复发,重现,再发生 | |
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grandeur
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| n.伟大,崇高,宏伟,庄严,豪华 | |
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poignant
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| adj.令人痛苦的,辛酸的,惨痛的 | |
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transcripts
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| n.抄本( transcript的名词复数 );转写本;文字本;副本 | |
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kindly
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| adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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playwright
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| n.剧作家,编写剧本的人 | |
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pretence
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| n.假装,作假;借口,口实;虚伪;虚饰 | |
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vice
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| n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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arbiter
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| n.仲裁人,公断人 | |
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feigning
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| 假装,伪装( feign的现在分词 ); 捏造(借口、理由等) | |
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justification
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| n.正当的理由;辩解的理由 | |
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atone
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| v.赎罪,补偿 | |
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apparently
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| adv.显然地;表面上,似乎 | |
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transgression
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| n.违背;犯规;罪过 | |
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explicit
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| adj.详述的,明确的;坦率的;显然的 | |
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wholesome
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| adj.适合;卫生的;有益健康的;显示身心健康的 | |
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wholesomely
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| 卫生地,有益健康地 | |
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innocence
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| n.无罪;天真;无害 | |
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serenest
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| serene(沉静的,宁静的,安宁的)的最高级形式 | |
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proprieties
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| n.礼仪,礼节;礼貌( propriety的名词复数 );规矩;正当;合适 | |
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virtues
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| 美德( virtue的名词复数 ); 德行; 优点; 长处 | |
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liking
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| n.爱好;嗜好;喜欢 | |
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bliss
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| n.狂喜,福佑,天赐的福 | |
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misery
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| n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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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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ecstasy
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| n.狂喜,心醉神怡,入迷 | |
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humane
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| adj.人道的,富有同情心的 | |
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futility
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| n.无用 | |
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fatality
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| n.不幸,灾祸,天命 | |
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monstrous
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| adj.巨大的;恐怖的;可耻的,丢脸的 | |
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mere
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| adj.纯粹的;仅仅,只不过 | |
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dignified
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| a.可敬的,高贵的 | |
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evoked
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| [医]诱发的 | |
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minor
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| adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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gainsaying
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| v.否认,反驳( gainsay的现在分词 ) | |
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judgment
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| n.审判;判断力,识别力,看法,意见 | |
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purely
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| adv.纯粹地,完全地 | |
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infinitely
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| adv.无限地,无穷地 | |
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allege
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| vt.宣称,申述,主张,断言 | |
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perfectly
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| adv.完美地,无可非议地,彻底地 | |
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mighty
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| adj.强有力的;巨大的 | |
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monarchy
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| n.君主,最高统治者;君主政体,君主国 | |
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chapter 28 Dante
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